How to Aim for the Top with AI Manga: The Story of How I Dominated note Search by Creating Five 40-80 Page AI Manga per Week. Four Academic Reasons Why a Trader Who Knows 'First-Mover Advantage Always Fades' Continues to Mass-Produce 40-80 Pages of AI Manga Every Week. #AIManga #GenerativeAI #note #InformationDissemination #ComicEssay #Manga #Business #AI #ChatGPT #Claude #Gemini #nanobananapro #ChatGPTImages2.0 #AIUtilization #DailyPosting #WhatIWantToTellYouNow #ContentBusiness

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📰 Today's Theme: The Story of How I Dominated the 'AI Manga' Search on note

The other day, I searched for the term AI Manga on note.

The reason was simple: to check where my articles stand compared to other creators.

I checked using Chrome's incognito mode, and the result was a bit shocking.

Out of the top 10 search results, half, or 5 of them, were my (Posu-dori) articles.

Moreover, while one is an explanatory article, the other manga are 40 to 80 pages in volume.

While I felt grateful, I immediately felt a sense of crisis.

This is because I was convinced that if I let my guard down here, it will become obsolete in half a year.

🔍 What exactly are 'AI Manga' and 'Comic Essay: Generative AI Manga Version'?

Let me break down the terminology here.

Among note readers, there must be many who are hearing the term 'AI Manga' for the first time.

Simply put, it is something created by using generative AI like ChatGPT, Gemini, or Claude to produce images and stories, and then assembling them into a manga. of it.

For example, I create them using the following steps.

・Write stories and dialogue using Claude (Anthropic's AI)

・Generate images using Gemini (Google's AI) or ChatGPT

・Select images, extract dialogue, or composite speech bubbles and text afterward

・Assemble page by page to finally complete a 40-80 page manga

In my case,

“Comic Essay: Generative AI Manga Version”

is the unique genre name I have given it, and I publish it on note.

The feature is “turning my own note articles (news commentary, geopolitics, trade stories, etc.) into manga.”

While most AI manga are “original stories,” mine is a “recreation of my own news commentary articles so they can be understood through manga” approach,

which is a highly unique path.

🌸 Toyama, a May morning, the scent of new tea and the note search screen

At 5:30 AM, the sky over Toyama is still dim, and the scent of the first brew of new tea fills the kitchen.

May in the Hokuriku region is the season when rice planting is finished and the rice plants sway in the water.

On my desk are an open laptop and a screenshot of the earlier note search results.

In my mind, 'Where to next?' was the question that immediately came to mind.

This is because, from my experience as a trader for over 12 years in more than 20 countries, I know firsthand that 'first-mover advantage always disappears'.

💡 Why I, a trader, am doing AI manga

'You're a trader, so why are you making manga?'

This is a question I am often asked.

There are three reasons.

First, 'I want to deliver my news commentary articles to more people'.

Text-only note articles demand a certain level of literacy from the reader.

Topics like geopolitics, economics, and trade do not reach those who are not interested.

However, turning them into manga lowers the barrier to entry.

Second, 'Preparation for future overseas expansion (Kindle, Substack)'

By continuing to turn note articles into manga, I can eventually expand into Kindle e-books and content for overseas markets.

In fact, this is the main goal. As I have said before.

Third, the fact that 'there is almost no one else in the country mass-producing at this level.'

As far as I can tell, there are only a handful of people in Japan who turn news commentary articles into 40-80 page manga every few days.

Or rather, I have never seen anyone else do it.

I decided that this would be a clear differentiation strategy.

However, having come this far, I had an important realization.

That is today's main theme.

"Turning note articles directly into manga makes them boring."

This is something I have mentioned a little before.

I recently realized that this is not just a matter of intuition, but a phenomenon that can also be proven academically.

In Chapter 7, I will cite four academic theories to thoroughly clarify this.

It is a long article, but I have made it content that will definitely be useful for those who are making AI manga, those who want to make them from now on, and those who are thinking about differentiation in note operations.

Please stay with me until the end.

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📑 [Main Text Preview]

In the main text, I will talk about the following nine points in order.

・Chapter 1: The story of searching for 'AI manga' on note and being in a state of top domination

・Chapter 2: What exactly is a 'Comic Essay/Generative AI Manga Version'?

・Chapter 3: Today's main theme: The phenomenon where turning note articles directly into manga makes them boring . + Basic explanation of carbon credits

・Chapter 4: Revealing the 3 pages I rejected . Why they didn't work

・Chapter 5: After revisions - How it became something else . 5-point Before/After comparison

・Chapter 6: The decisive difference between 'manga adaptation' and 'image conversion'

・Chapter 7 (Most important): The science of 'movement' revealed by visual perception research . Thoroughly explained with 4 academic theories

・Chapter 8: 5 principles of the Posutori-style 'manga revision' . Concrete measures to implement the theory

・Chapter 9: ⚠️ 6 concerns regarding AI manga operation . How to avoid writing sensationalist articles

Now, let's enter the main text.

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🛍️ Chapter 1: When I searched for 'AI manga' on note, 5 out of the top 10 results were mine

Steam slowly rises from the teacup of fresh tea on the desk.

In the cold air of a May morning, the warmth transmitted to my fingertips clears my head.

Let's start the story with the shocking search results.

📊 5 out of the top 10 results in note search were mine.

Looking at the search screen, the first thing I said was this:

"Half of them are mine..."

Specifically:

・1st place: My article (Nvidia's "Physical AI" manga)

・2nd place: My article (Hokuriku trader uncovers 30 challenges through one-page inventory)

・3rd place: My article (How to make AI manga & stumbling blocks in overseas note publishing)

・5th place: My article (Generative AI news: Claude's glare breaks through limits)

・7th place: My article (Comic essay, generative AI manga version)

This means only one thing:

"At this moment, I am in the top tier of the 'AI manga' genre on note."

That is what it means.

🤔 Why did this situation happen?

To be honest, I didn't exactly aim for this.

The core of my note operation is, after all, "news commentary articles" (geopolitics, economy, trade, AI-related).

I started AI manga naturally as a derivative, in the form of "manga adaptations of note articles".

However, once I started making them:

・Mass production of 40-80 pages per article

・A pace of 1-2 articles per week

・Fixed characters (Pos-tori, AI-san, Glasses Stick Figure)

・A unique genre in the style of comic essays

As I continued this operation, before I knew it, I was in a "monopoly state in AI manga search within note".

🌐 Even looking at it nationwide, this is an abnormal state

Just in case, I investigated whether there was anyone else operating the same way at a national level.

As far as I could confirm:

・People who publish 40-80 page manga in a single article every week

→ Almost none

・Furthermore, while there are people who do short stories, I have a unique niche of news commentary manga spanning dozens of pages

→ Almost zero competition

・People who serialize with fixed characters

→ Only a few people

・People who publish at a pace of over 10 AI manga per month

→ Extremely few in the entire country

In other words, I am in a state of almost single-handedly pioneering the genre of 'Comic Essay: Generative AI Manga Version' itself.

📰 Posu-dori's AI Manga Operational Status (Specific Numbers)

📰 I will organize Posu-dori's AI manga operational status.

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📰 Figures for Posu-dori's AI Manga Operations

・ Number of published AI manga articles : Over 30 (likely nearly double that when including social media)

・ Average page count : 40-80 pages per article

・ Tools used : Gemini, ChatGPT, Claude (Anthropic)

・ Main characters : Basically a 2 or 3-person system

　- Posu-dori (Red round body, white chef's hat, 4-eyed bird, narrator role)

　- AI-san (Silver hair, wolf ears, red eyes, appears only on CTA bonus pages)

　- Stick figure (various mob characters)

・ Update frequency : 3-5 times per week

・ Search ranking for "AI Manga" within note : Occupying 5 of the top 10 spots (as of May 2026)

📍 Explanation:

These are figures close to a monopoly of the AI manga genre.

However, I expect the situation to change within six months to a year due to the entry of competitors.

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"I am truly grateful for this," I honestly think.

That is precisely why today's theme, "Improvement Know-how", is at the center of my operations.

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✅ Brief Summary of Chapter 1

1. Searching 'AI Manga' on note → 5 out of the top 10 results are mine

A state of monopoly as of May 2026. This wasn't intentional, but the result of weekly mass production.

2. There is almost no one else in the country mass-producing at this level

A unique path of 40-80 pages per article, 1-2 articles per week, fixed characters, and news commentary manga.

3. I am grateful, but I also feel a sense of crisis

The trader's rule of thumb: 'First-mover advantage always fades.' If I don't continue to improve and evolve, it will become obsolete in half a year.

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📚 Chapter 2: What exactly is a 'Comic Essay/Generative AI Manga Version'?

Here, I will explain the unique genre I operate in a bit more detail.

Even though it's called 'AI Manga,' there are several types in the world, so I will clarify the differences from mine.

🎭 3 Types of 'AI Manga' in the World

📰 I will organize the AI manga that exist in the world.

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📰 3 Main Types of AI Manga

・ Type A: Original Story Format

Creating completely new stories such as fantasy, sci-fi, or romance using AI.

Example: Short manga created by individual creators as a hobby, or AI-generated heroine stories.

・ Type B: Practical Explanation Format

Explaining specific knowledge (cooking, health, investment, etc.) through manga.

Example: An AI-generated version of the 'Understanding XX through Manga' series.

・ Type C: Comic Essay / Generative AI Manga Version (Pos-dori style)

Turning your own note articles (for example, in my case, news commentary, geopolitics, trade, etc.) into manga. Or turning your own products or PR products into manga.

Features: A mix of three elements: commentary, comic essay, and AI generation.

📍 Explanation:

Types A and B have many competitors.

Type C is almost a standalone category. This is because it involves turning your own articles or products into manga.

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My comic essay/generative AI manga version is unique because I maintain an extremely labor-intensive operation of 'turning my own note articles into manga every week'.

👥 3-Character System

My manga features three main characters.

📰 Organizing the 3 AI manga characters of Posu-dori.

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📰 3 Main Characters

・ Posu-dori (my avatar, so to speak)

A red, round body, white chef's hat, four-eyed bird.

Role: Narrator, commentator, center of the story.

Characteristics: Perspective as a trader, unique analysis.

・ AI-san

Silver hair, wolf ears, red eyes.

Role: CTA (Call to Action), appears only on bonus pages.

Characteristics: AI-self-identified character, strong comical runaway tendencies.

・ Stick Figure (the protagonist of each episode, and also a mob character)

There are various characters for this one.

Also, since I specialize in geopolitics, I am particular about things like the personification of countries.

And so on.

Thanks to that, I have been able to create various manga so far.

Recently, this manga has been buzzing, but

I am also making various others.

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With this character system, the basic strategy is to neutralize the difficulty of news commentary with the lightness of manga.

🛠️ Production Tool Stack

For reference, I will also introduce the tools I use.

・ Claude (Anthropic): Article generation & double-checking

・ Gemini (Google): Article generation & image generation

・ ChatGPT: Image generation

・ Canva Pro: Light editing

That is about it.

I used to use nanobanana pro for AI manga generation, but now I use ChatGPT Images 2.0 because it is superior.

By combining these, I have evolved my own workflow in the form of Master Prompts v1 to vFinal.

I will explain the details in another article, but in short, I have built a mass-production pipeline that combines multiple AIs.

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✅ Chapter 2 Summary

① There are 3 types of AI manga (Original / Practical Explanation / Comic Essay)

The one managed by Posu-dori is the third category, 'Comic Essay: Generative AI Manga Version'.

② 3-character system (Posu-dori, AI-san, Glasses Stick Figure)

The flexibility to change the protagonist depending on the theme of the article.

③ Built a mass-production pipeline by combining multiple AI tools

Claude + Gemini + ChatGPT + Canva Pro. Evolving from Master Prompt v1 to vFinal.

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🎨 Chapter 3: Today's Main Theme ─ If you just turn a note into manga as-is, it becomes boring

From here, I will enter today's main topic.

Having created over 30 AI manga, I have recently realized something strongly.

That is,

"Manga that simply turns note article text into images is boring."

This is the reality.

🤔 'Manga adaptation' and 'image conversion' are different

Here, I will distinguish the terms.

・ Image conversion: Showing note article text with pictures added.

・ Manga adaptation: Reconstructing the content of a note article using the grammar of the manga medium.

They may seem similar, but they are completely different things.

To use an analogy, it is the same as the difference between an audiobook of a novel and a film adaptation of a novel.

An audiobook just turns text into audio.

A film adaptation requires rebuilding from scratch using the grammar of a different medium: video.

"Manga that is just a note article turned into images" is close to just reading a novel aloud.

Calling that "manga adaptation" is a stretch.

📺 As an example, I will present the "carbon credit article" currently in progress

To explain with a concrete example, there is an article I am currently in the middle of adapting into manga that is stalled.

That is a note article themed on "carbon credits".

Are you familiar with the term "carbon credit"?

You hear it in the news, but I think many people "don't really understand what it specifically means".

Here, I will briefly explain it for note readers.

🌍 What exactly is a carbon credit in the first place

📰 I will organize the basics of carbon credits.

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📰 What are carbon credits (basics)

・ Official name: Carbon Credit

・ Meaning : A system that turns proof of reducing 1 ton of CO2 (carbon dioxide) into a tradable right.

・ Creator : The United Nations and national governments.

・ Background : From the 'Paris Agreement' (2015 consensus), a rule to stop global warming.

・ Purpose : A mechanism where those who reduce CO2 get paid, and those who cannot reduce it buy these rights to offset their emissions.

・ 2026 Trends : Full-scale operation of the GX-ETS (Emissions Trading System) in Japan, with prices ranging from 1,700 to 4,300 yen per ton.

📍 Explanation:

To use an analogy, it is a structure like 'someone who succeeded in dieting sells their dieting rights to someone who is overweight.'

However, this diet targets CO2.

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Simply put, it is a mechanism where companies can buy and sell 'certificates for reducing 1 ton of CO2' among themselves.

And while one might think this is a 'big business issue,' it actually affects individuals as well.

Because:

・ The prices of products you buy will change from now on (manufacturers will pass costs onto prices)

・ The fate of the company you work for will also be swayed by this (CO2 emissions are directly linked to management)

・ A full-scale system will begin in Japan starting in 2026 (it will no longer be someone else's problem)

My attempt was to convey this kind of content in an easy-to-understand way through manga, that was my endeavor.

However, the wall I hit here was the "problem where turning note articles directly into images is boring".

I will show you concrete examples of failure (rejected versions) and comparisons after revisions in the next chapter.

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✅ Chapter 3 Summary

① "Turning into images" and "turning into manga" are different things

Simply adding pictures to text is "turning into images." Recreating from scratch using the medium's grammar is "turning into manga."

② Carbon credits are a mechanism for buying and selling certificates that prove 1 ton of CO2 has been reduced

A system born from the United Nations and the Paris Agreement. It will go into full swing in Japan in 2026.

③ I hit a wall while trying to turn this into manga

That was the "problem where turning note articles directly into images is boring."

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🚫 Chapter 4: I will reveal the 3 pages I judged as 'rejected'

From here, we will look at actual examples of failure.

Embarrassingly, I will publish the 3 pages I created first and rejected exactly as they are.

📄 Rejected Version Page 1: 'Wait... does that have anything to do with me?'

Content of this page:

・Top panel: Stick figure (representing the reader) asks 'Huh...?' to Pos-tori.

・Middle panel: Pos-tori asks back, 'Carbon credits—did you think this was just for big corporations?'

・Bottom panel: Pos-tori explains, 'No. The price of the products you buy will change,' and 'The fate of the company you work for will also be influenced by this.'

Reading just the dialogue, the structure isn't bad.

However, as an illustration, it has serious problems.

📄 Rejected Version Page 2: 'Let's confirm the basics here.'

Content of this page:

・Top panel: Pos-tori points to a whiteboard and illustrates, 'Reduce 1 ton of CO2 → 1 credit → Can be sold to other companies.'

・Middle panel: Pos-tori explains, 'Carbon credits—they are rights that turn the proof of reducing CO2 by one ton into something that can be bought and sold.'

・Third panel: Pos-tori recounts the history, 'Who created them? The UN and national governments. They were born from the rules to stop global warming (the Paris Agreement).'

・Fourth panel: Pos-tori concludes, 'The purpose is simple. Money goes to those who reduce it, and those who cannot reduce it buy it to compensate,' and the glasses stick figure is convinced, saying, 'I see, so that's how the system works...'

📄 Rejected Version Page 3: 'Pardon my late introduction. I am Pos-tori.'

Content of this page:

・Top panel: Pos-tori introduces himself, 'Pardon my late introduction. I am Pos-tori. I am the guide for this story.'

・Middle panel: Pos-tori gives a preview, 'From here on, I will show you the journey of a single carbon credit.'

・Bottom panel: Pos-tori says, 'From the Amazon rainforest to your company in Japan, I will show you how a single right moves the world.'

This is also beautiful as dialogue.

However, as an image, it is almost the same blue digital space as the previous page, with only Pos-tori's pose changing slightly.

In all three of these,

only Pos-tori's pose changes,

and the background is fixed as a blue digital space.

❌ Why is this 'rejected'?

Looking at the 3 pages as a whole, a fatal flaw emerges.

📰 Let's organize the problems with the 3 rejected pages.

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📰 5 fatal problems with the rejected version

・ Problem 1: The background is almost the same

All 3 pages are in a blue digital space. The background location does not change.

・ Problem 2: The poses only change slightly

Pos-tori points a finger or raises a hand, but there is no fundamental movement.

・ Problem 3: Fixed camera angle

Almost all are middle shots (bust-up). There are no close-ups or wide shots.

・ Problem 4: No movement, monotonous

Even when turning the page, there is a feeling that "the same picture continues."

・ Problem 5: It's fine for 1 page, but if it continues for 3 pages

This is 'torture' for the reader.

The first page is fresh. By the second page, you start to wonder. By the third page, you want to leave.

This is not 'manga,' but rather 'just a note article with pictures added'.

It is not fulfilling its function as a medium.

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At the point I created this rejected version, I decided that it could never be released as a finished product.

The flow of the dialogue is beautiful.

However, the art is dead.

Publishing this would be boring, and more importantly, if I continue like this, a massive amount of similar art will be produced.

Therefore, I entered a phase of major revisions, which is the 'post-revision' version I will show in the next chapter.

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✅ Chapter 4 Summary

① The rejected version had fixed backgrounds, poses, and camera angles, with no movement

The dialogue is good, but the art is monotonous. If it continues for three pages, it becomes a reason for readers to leave.

② 'Just a note article with pictures added' is not manga

A state where it is not fulfilling its function as a medium.

3. Designing for reader drop-off at the third page is a fatal failure

If readers drop off at the third page of a 40-80 page manga article, it is the end for your operation.

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✨ Chapter 5: After Revision - How it became something else

From here, I will show you the three pages after revision.

Same dialogue, same content, same characters.

However, I will visually demonstrate that just by revising the art, it changes into a different kind of interesting.

📄 Page 1 after revision: Scene transition and dramatization

Main changes:

・Panel 1: Pos-tori stands in front of a globe, showing the world with a bird's-eye scale.

・Panel 2: A close-up of Pos-tori's smug face. The pointing gesture creates a sense of "asking you."

・Panel 3: The background changes from supermarket to factory district. Green credit certificates float in the air. Silhouette shoppers are drawn to visually convey that it is "directly connected to individual lives".

📄 Revised Page 2: Introduction of Visual Explanations

Main Changes:

・Panel 1: Explained with drawings on a whiteboard (factory, leaves, another factory). Understandable through visuals, not just text.

・Panel 2: Pos-bird holding a green credit certificate. By showing it as a physical object, the 'right' is intuitively understood as a 'thing'.

・Panel 3: Background switches to a UN assembly hall. National flags, circular seating. Visually convincing that it was 'created by the UN and national governments'.

・Panel 4: Flowchart of money (side that reduced ← money ← side that cannot reduce) illustrated by contrasting green factories and gray factories. The 'economic mechanism' is understood at a glance.

📄 Revised Page 3: Scale of the Journey

Main Changes:

・Panel 1: Pos-bird expresses 'Pardon the late introduction' through the action of adjusting its chef's hat. Converted into an action.

・Panel 2: Pos-bird is seen from behind, walking on a path of green light. A visual preview that 'the journey is about to begin'.

・Panel 3: Overhead shot of a globe visualizing the route from the Amazon to Japan with green light. The 'scale of the story' is conveyed instantly.

🎯 Analysis of Revision Points (5 locations)

By comparing the rejected version with the revised one, 5 major revision points become visible.

📰 I will organize the 5 revision points.

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📰 5 Revision Points: Rejected Version → Revised Version

・ Point 1: Bold changes in perspective (camera angles)

Old style: Fixed middle shot

Revision: Combination of bird's-eye view (looking down at Earth) → close-up (smug face) → wide shot (entire scene)

・ Point 2: Background scene transitions

Old style: Fixed in a blue digital space

Revision: Blue space → Supermarket → Factory district → UN assembly hall → Map of Japan

・ Point 3: Introduction of visual explanations (infographics)

Old style: Just 'reading out' from a whiteboard

Revision: CO2 → Credits → To other companies, money flow diagrams, globe travel route maps

・ Point 4: Close-ups of characters

Old style: Full-body wide composition

Revision: Create a strong impression as 'art' with a smug close-up.

・ Point 5: 'Theme Art' for each page

Old style: Art exists as an accompaniment to the explanation.

Revision: The art itself conveys information (globe to Japan route, flowcharts of money).

📍 Conclusion:

The dialogue is the same.

But, just by changing the visual presentation, it becomes a different kind of interesting.

I changed the structure so it doesn't look the same, even across three pages.

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What is important here is that the dialogue has hardly been changed.

The only thing I revised was the art.

Even so, the reading experience becomes completely different.

Why?

The answer lies in the academic theory explained in Chapter 7.

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✅ Chapter 5 Summary

1. Even with the same dialogue, changing the visual presentation creates a different kind of interest

The dialogue remains almost unchanged. Only the art was revised.

2. There are 5 revision points: perspective, background, illustrative diagrams, character close-ups, and thematic art

By consciously combining these, you create a structure that doesn't get boring even over three pages.

3. Designing it so that "the art itself conveys information" is the essence of manga

Instead of relying on art to express textual information, the art conveys it directly.

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🔄 Chapter 6: The Decisive Difference Between "Manga-fication" and "Image-fication"

Up to this point, I have intuitively spoken about "lack of movement," "monotony," and "getting bored."

Here, I will organize that essence as media theory.

📚 Article readers and manga readers have completely different perceptions

You need to understand that readers of note articles and readers of manga use their brains in completely different ways, even if they are the same people.

📰 Let's organize the cognitive differences between note readers and manga readers.

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📰 Cognitive differences between note readers and manga readers

・ Characteristics of note readers

Follow logic / Interpret sentence by sentence / Control their own thinking speed / Do not get bored with text even in the same scene / Can follow abstract arguments through text

・ Characteristics of manga readers

Follow emotions / Need visual momentum / Monotonous art is a 'reason for abandonment' / Need to make them want to see the next frame in every single panel / Abstract arguments must be visualized

note readers are active.

They read at their own pace, thinking with their own heads.

Manga readers are passive.

The art needs to move, and emotions need to be stirred.

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Therefore, 'turning note article text directly into images' leads to failing to provide the 'dynamic information delivery' that manga readers are looking for, doesn't it?

🎬 To use an analogy, it's the difference between an 'audiobook' and a 'movie'.

Let's return once more to the metaphor touched upon in Chapter 3.

Manga that is simply 'a note article turned into images' is

similar to 'an audiobook of a novel'.

You have only changed the text into audio; the essence of the medium remains unchanged.

In contrast, 'adaptation into a film' requires recreating the novel from scratch using the grammar of a different medium, which is film.

Camera work, editing, sound, acting, and art direction.

All of these are elements that do not exist in the text information of a novel that must be created anew.

Manga is the same.

While following the logical flow of the note article, you must create the grammar of manga (panel layout, changes in perspective, scene transitions, emotional movement) from scratch.

💡 'Even with the same content, it is essential to recreate it for each medium'

This is a principle common to all content development, not just for turning note articles into manga.

・ Novel → Film: The screenwriter rewrites it from scratch

・ Film → Game: The game designer reconstructs it into an interactive experience

・ note → Video: Reconstruct into a format that can be watched and listened to as a video

・ note → Manga: Reconstruct using manga grammar (today's theme)

Conversely, simply pouring the same information into a different medium

will inevitably make it boring.

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✅ Chapter 6 Summary

① note readers and manga readers use their cognition in completely different ways note readers actively follow logic. Manga readers passively follow emotions.

note readers actively follow logic. Manga readers passively follow emotions.

② 'Visualization' is like an audio reading. 'Manga adaptation' is like a movie It is necessary to reconstruct from scratch using the medium's grammar.

It is necessary to reconstruct from scratch using the medium's grammar.

③ The golden rule of content expansion: Reconstruct for each medium Simply pouring it in will inevitably make it boring.

Simply pouring it in will inevitably make it boring.

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🧠 Chapter 7: The Science of 'Movement' Revealed by Visual Cognition Research (Most Important Chapter)

Up until now, I have spoken intuitively about 'rejections,' 'revisions,' and 'movement.'

However, there is solid academic evidence for this.

From here, I will cite four academic theories to thoroughly clarify 'why manga that doesn't move is boring.'

It will get a little technical, but I will explain it in a way that is easy for note readers to understand.

If you read until the final theory integration, 'the reason why you should revise your own manga' should be understandable as science, not just intuition.

🧪 Theory 1: Habituation Theory

The human brain has a property of rapidly losing attention to repeated visual stimuli.

It has a property of rapidly losing attention to repeated visual stimuli.

This is called 'habituation.'

'Habituation' is 'a phenomenon where one gets used to repeated stimuli and stops reacting to them.'

For example:

- You notice the sound of a clock when you first hear it, but you stop hearing it after 3 minutes

- You notice the sounds of the neighborhood on your first day after moving, but you stop noticing them after a week

- When you see the same advertisement 10 times, you stop noticing it

The same phenomenon is occurring within the brain that reads manga.

📰 3 Models of Habituation Theory

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📰 3 Major Models of Visual Habituation

- Sokolov Model

The brain operates on the "Principle of Prediction Error Minimization".

Simply put, new stimuli attract attention, but predictable stimuli come to be ignored.

In other words, if the brain predicts that "the next page will be the same picture anyway," once that exact picture arrives, the brain stops paying attention.

- Wagner Model

Response to repetitive stimuli decreases rapidly through repetition.

- Thompson Model

Attention is determined by the novelty of a stimulus.

When the same stimulus continues, attention fades in just a few repetitions.

📍 Source:

Anticipatory and reactive mechanisms of habituation to visual distractors

(Nature Scientific Reports, 2025)

URL:

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What happens when you apply this to manga?

If the same composition, background, and pose continue for 3 pages,

the reader's brain decides "I've already seen this" and stops looking at the details.

At worst, they will close the page.

This is the scientific reason why my rejected drafts cause readers to drop off by the third page.

🧪 Theory ②: McCloud's "6 Types of Panel Transitions"

The classic of all classics in manga theory is "Understanding Comics" (1993) by Scott McCloud.

McCloud classified the "transitions" between panels into 6 types.

In other words, the shifts between panels.

📰 McCloud's 6 types of panel transitions

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📰 6 types of panel transitions (Scott McCloud, 1993)

・ 1. Moment-to-Moment

Example: Between breaths, the moment of a blink

Feature: Shows the flow of time in detail

・ 2. Action-to-Action

Example: Punching → falling, starting to run → stopping

Feature: Changes in action within the same scene and same character

・ 3. Subject-to-Subject

Example: Speaker → Listener

Feature: Switching perspectives to different characters in the same scene

・ 4. Scene-to-Scene

Example: Office → City Street → Home

Feature: Significant change in location

・ 5. Aspect-to-Aspect

Example: Cherry tree in the garden → Cherry blossom petals → Petals fallen into a pond

Feature: Showing different aspects of the same scene (unique to Japanese manga)

・ 6. Non-Sequitur

Example: Juxtaposition without logical connection

Feature: Used in experimental or avant-garde manga

📍 Source:

Scott McCloud "Understanding Comics: The Invisible Art" (1993)

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Now, if I analyze my rejected version, this is what happens.

Discarded version pages 1-3: All Subject-to-Subject (Pos-bird → Stick figure → Pos-bird → ...) repetition.

In other words, I was trying to make it last for 3 pages using only one out of the 6 types.

In contrast, the revised version uses:

・ Scene-to-Scene (Blue space → Supermarket → Factory district → UN assembly hall)

・ Aspect-to-Aspect (Earth → Japan → Factory)

・ Action-to-Action (Changes in Pos-bird's poses and gestures)

Combining at least 3 types of panel transitions.

🧪 Theory ③: Cohn's 'Visual Language Theory' and Japan-US Cross-Cultural Research

Dr. Neil Cohn of the University of California studies manga as 'Visual Language'.

And, there was an extremely important discovery in a Japan-US cross-cultural study published in the 2025 issue of Cognitive Science (the premier journal for cognitive science).

📰 Differences in Visual Perception between Japanese and Americans

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📰 Research findings by Cohn et al. (2025)

・ Characteristics of American Comics

Frequent use of an objective viewpoint

Focuses on compositions that show the whole scene from a distance

・ Characteristics of Japanese Manga

Frequent use of a subjective viewpoint

Focuses on compositions that delve into the character's inner self

・ What the research revealed (Important)

Japanese readers have a tendency to pay attention to the background as well

American readers have a tendency to focus on the main subject

📍 Source:

The Cross-Cultural Interplay of Visual Attention and Artistic Design in Comics

Insights From Eye-Tracking Evidence on American and Japanese Readers

(Cognitive Science, 2025)

URL:

https://onlinelibrary.wiley.com/doi/10.1111/cogs.70091

Neil Cohn "The Visual Language of Comics" (2013)

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Here, what is extremely important is that

"Japanese readers react strongly to 'changes in background'."

The majority of my note readers are Japanese.

In other words, manga where the background does not change goes against the cognitive characteristics of Japanese readers

.

My rejected version had all 3 pages in the same blue digital space.

This meant that I had completely stripped away the 'background change' that the brains of Japanese readers react to most strongly.

In the revised version, switching the background from blue space → supermarket → factory district → UN assembly hall can be said to be, as a result, a design that matches the cognitive characteristics of Japanese readers.

🧪 Theory 4: 'Skipping panels' as shown by eye-tracking research

Finally, there is one more decisive piece of research.

📰 Results of Eye-Tracking Research (Tracking Eye Movement)

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📰 Eye-Tracking Research on Reading Manga

・ Study by Laubrock et al. (2018)

Text within panels attracts more attention than images.

However, panels without text are easily skipped during the first read-through.

・ Comparative study of expert and non-expert readers

Expert readers have a higher ability to interpret 'the composition of the panel itself'.

Non-expert readers tend to rely on text while reading.

📍 Source:

Reading comics: The effect of expertise on eye movements

(PMC, 2024)

URL:

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What this means is the fact that 'panels with weak visuals are skipped.'

My rejected version had weak visuals (fixed background, only poses changed).

In other words, it had a structure where the reader's eyes would skip panels to move on to the next.

🎯 Integrating the 4 theories

Integrating the 4 theories discussed so far, we can say this.

📰 Conclusion integrating the 4 theories

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📰 The scientific reason why "static manga" is boring

"Manga with continuous identical composition, identical background, and identical poses:

・Causes the brain to stop reacting due to habituation,

・Fails to advance the story due to McCloud's monotony of panel transitions,

・Betrays the "background attention" peculiar to Japanese people,

・And results in the panels themselves being skipped due to weak visuals."

📍 Conclusion:

What you judged as "boring" by intuition

may also have been linked to a "structure that the brain rejects" from an academic perspective.

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In other words, if you violate all four academic theories, it tends to become boring.

This is something I realized after reading academic papers later, but

the "movement" of manga is science

is something I strongly feel.

I often say that if you want to draw manga with AI, you should spend time at the library, and that is not entirely wrong.

I also learn not so much how to draw manga from the library, but rather how to structure it.

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✅ Chapter 7 Summary: Arming yourself with 4 theories

① Theory 1: Habituation Theory

The brain begins to ignore repetitive visual stimuli. If the same image continues for 3 pages, attention fades.

② Theory 2: McCloud's 6 Types of Panel Transitions

Using only one type is tedious. You need to combine at least 2-3 types.

③ Theory 3: Cohn's Visual Language Theory

Japanese readers have a nature of "paying attention to the background as well." A fixed background goes against cognitive characteristics.

④ Theory 4: Eye-tracking Research

Panels with weak visuals are skipped. Manga cannot be established by the quality of the dialogue alone.

5. If you arm yourself with theory, your intuition will be sharpened

What I judged as "boring" by intuition was, academically speaking, a "structure that the brain rejects."

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🎯 Chapter 8: 5 Principles of the Posu-dori Style "Manga Revision"

Based on the theory in Chapter 7, I will break it down into 5 implementable revision principles.

This is a standard I will always be conscious of in my future mass production, and it is also something that readers can use as-is when creating AI manga.

🎯 Principle 1: No same composition for 3 consecutive pages

Be conscious of McCloud's 6 types of panel transitions.

Specific checklist:

・Page 1: What kind of transition?

・Page 2: What kind of transition?

・Page 3: What kind of transition?

→ Are they all different types?

🎯 Principle 2: Always include a scene-to-scene transition

Leverage the characteristic discovered in Cohn's research that Japanese readers pay attention to the background.

Every few panels, be sure to change the background significantly at least once.

Create a flow of: abstract space (digital space, etc.) → real location (office, street, home) → another real location.

Concrete examples:

・Abstract scene (discussion) → Concrete location (conversation in an office) → Another location (discovery on a street corner)

・Indoors → Outdoors → Inside another building

・Present day → Flashback → Present day

🎯 Principle 3: Incorporate changes in perspective (camera angles)

I place great importance on this, but mix multiple perspectives within a single page.

・ Bird's-eye view (looking down from a high place, aerial shot, map perspective)

・ Eye-level view (aligned with the character, conversation scene)

・ Close-up (enlargement of face, hands, objects)

Include at least three perspectives on one page.

With this alone, you can prevent habituation in the reader's brain.

🎯 Principle 4: One infographic per page

Include one element per page where the visual itself conveys information.

・ Explaining with pictures on a whiteboard

・ Flowcharts of money

・ Routes on a map

・ Comparison tables

・ Data graphs

This creates a design where you can understand it just by looking at the pictures, without reading the dialogue.

A direct countermeasure to the eye-tracking research problem that panels with weak visuals are skipped.

🎯 Principle 5: Be conscious of the emotional curve

If the tension is at its peak on every page, it feels flat.

Contrast:

・ Static → Dynamic → Static → Dynamic

・ Reassurance before surprise

・ Determination should be quiet

・ Emotional peaks limited to 2-3 per article

Being conscious of this creates the reader's momentum to 'want to see what's next'.

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✅ Brief Summary of Chapter 8

① Principle 1: No same composition for 3 consecutive pages (McCloud Theory)

② Principle 2: Always include scene-to-scene transitions (Cohn Theory)

③ Principle 3: Incorporate changes in perspective (countermeasure for habituation)

④ Principle 4: One visual explanation per page (countermeasure for eye-tracking)

⑤ Principle 5: Be conscious of the emotional curve (contrast)

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⚠️ Chapter 9: 6 Concerns Regarding AI Manga Operations

Up to this point, I have discussed the potential and know-how of AI manga.

However, I do not want this to be a clickbait article.

I will calmly and honestly share the 6 concerns when imitating AI manga.

⚠️ Concern 1: Risk of Obsolescence (First-mover advantage always disappears)

The reason I am currently in a 'top-dominating' state is simply because there is little competition, nothing more.

Within six months to a year, someone who mass-produces along the same lines will definitely appear.

At that point, my know-how will become common knowledge, and the monopoly will collapse.

This is an iron rule of the market that I have observed for 20 years as a trader.

⚠️ Concern 2: Acceleration of Saturation Due to Exposure

To be frank, the fact that I wrote this article itself will become a cause for further market saturation.

If I disclose the know-how, naturally, the number of people imitating it will increase.

However, this is a strategic decision.

This is because the illusion that you can earn money just with know-how does not function in reality.

Very few people can reach the level of operating while understanding the theory in Chapter 7.

Even if you just imitate the know-how, you cannot create 'manga with movement'.

⚠️ Concern 3: Platform Dependency Risk

Even though I have a monopoly on 'AI Manga' searches within note, this is subject to note's algorithm.

In the past, there have been countless cases in the SEO industry where rankings changed overnight due to Google updates.

note is no exception.

Countermeasures:

・ International expansion (Substack, Medium)

・ Kindle publishing/e-book conversion to build assets outside the platform

・ Mailing lists, etc., to create traffic channels you can control yourself

⚠️ Concern 4: Labor Volume Risk (Actually tedious and difficult)

Mass-producing 40-80 pages per article is more labor-intensive than you might imagine.

Specifically:

・Story composition (Claude)

・Image generation and selection (Gemini, ChatGPT)

・Speech bubble composition, page assembly:

・Overall adjustments, revisions

At the shortest, it takes several hours per article.

I do this every week in parallel with writing note articles.

If you start this thinking it's a "casual side hustle," you will be mentally drained in half a year.

⚠️ Concern 5: Rights and terms issues for AI-generated images

The commercial use of images generated by AI is currently fluid.

Specific risks:

・Terms of service changes for ChatGPT and Gemini (you never know when commercial use might be restricted)

・Japan's AI copyright debate (possibility that the Agency for Cultural Affairs' policy might change)

・Similarity issues with existing copyrighted works (relationship with images the AI has learned from)

These are areas that will change significantly in the next few years.

You are constantly carrying the risk that "today's decision could be illegal tomorrow."

⚠️ Concern 6: The illusion that 'you can make money just with know-how'

Finally, the most important concern.

After reading an article like this, some might think, If I learn the know-how, I can dominate the top rankings too..

However, the reality is different.

Implementing the know-how requires:Implementation involves:

・ Persistence (Can you continue mass production every week for 1-2 years?)

・ Refinement ability (Having criteria for rejection and the courage to discard work)

・ Willingness to learn (An attitude of continuing to study theories like those in Chapter 7)

・ Originality (The sensibility to find a unique angle different from others)

These are necessary.

These cannot be acquired just by reading articles.

There is no path other than doing the work yourself and engaging in trial and error every week.

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✅ Chapter 9 Summary: 6 Points of Concern

① Obsolescence Risk: First-mover advantage always disappears

② Saturation Acceleration Due to Coverage: This article itself fills the market

③ Platform Dependency Risk: Depends on note's algorithm

④ Labor Volume Risk: 13-20 hours per article, more heavy labor than imagined

⑤ Rights and Terms Issues for AI-Generated Images: Fluid, will change in the next few years

⑥ The Illusion of 'Making Money with Know-How Alone': Requires persistence, ability to improve, willingness to learn, and originality

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🛠️ 3 Actions You Can Take Starting Today

To put what we've discussed so far into practice, I will organize it into 3 actions.

① Check if you don't get bored after 'looking at 3 consecutive pages' of the manga you created

This is the most important thing.

Look at the manga you created for 3 pages in a row.

At that time:

・ Are the backgrounds different for all 3 pages?

・ Is the movement of Pos-tori (your character) more than just poses?

・ Are your eyes glazing over by the third page?

Ask yourself this.

If you feel, "Oh, this is monotonous," have the courage to scrap it immediately.

② Prepare a list of 5 scene transitions in advance

Before creating the images, write down 5 things: "Where is this scene taking place?"

Example:

・Supermarket

・Factory district

・UN assembly hall

・Overhead view of a globe

・Living room at home

With this list, you can prevent the AI bias of "mass-producing the same blue space."

③ Create your own "criteria for rejection"

Instead of publishing everything, have your own criteria for rejection.

In my case:

・Do I get bored after looking through 3 pages?

・Is there only one type of McCloud transition?

・Is the background static, going against the cognitive expectations of Japanese readers?

・Are the visuals weak enough that it might be skipped over?

If even one of these applies, I consider it a rejection.

Even if the dialogue is good, or the art is good, if the structure is bad, I remake it.

I am convinced that this is the only way to maintain 'top-tier dominance'.

Writing this much, I might get told,

'I've never seen anyone bring this much theory into manga.'

But if I had to say,

it's the same as someone who draws art studying anatomy or medicine.

I don't think it's enough to just keep studying manga if you want to draw manga.

When I write articles, I don't just study AI or sales copywriting; I use everything from economics and geopolitics to, in some cases, biology, philosophy, toxicology, history, and archaeology.

That is because it makes the articles more interesting.

I have written about this before, but I believe the same applies to manga.

Manga written purely from imagination without proper research, gathering materials, or visiting the actual locations lacks the foundation that comes from thorough investigation.

I believe what I am doing is no different. If I were to say that it can be done half-heartedly just because AI exists, I would be scolded by real manga artists.

If you are using AI, you should learn the composition methods from professional manga artists, respect them, and if you can study, I believe you should go to the library and study their work.

🐦 A word from the Post-Bird

On a May morning, while gazing at the water in the rice fields of Toyama and the steam from fresh tea, it feels a bit strange even to me to be writing about the science of 'movement' in AI manga.

But what I realized while writing is that the essence of manga and trade is the same.

Understand what the other party (reader/customer) is reacting to in their brain, and design accordingly.

While backing that up with data and theory, sharpen your own intuition.

In my experience as a trader trading in over 20 countries, the thing I valued most was 'changing how products are presented to match the culture and psychology of the other country'.

For Thailand, tailor it to the preferences of the Thai people.

For the Vietnamese market, tailor it to Vietnamese preferences.

The same applies to AI manga.

Adjust how the art is presented to match the cognitive characteristics of Japanese readers.

This is my own methodology that has supported my "top-ranking dominance".

Today's know-how might be common knowledge in half a year.

But by that time, I will surely have already developed the next set of know-how.

"A first-mover can only remain a first-mover by continuing to run."

This is the only truth I have learned as a trader and as an AI manga creator.

I look forward to your comments and DMs today as well.

In particular, direct feedback from those who are making AI manga or want to start making them is the greatest encouragement for me.

See you in the next article.

Pos-tori

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⚠️ Disclaimer

This article is an explanatory piece based on the author's operational experience and the cited academic papers.

It does not guarantee specific business results or side-hustle income.

Please make final decisions regarding AI manga production at your own risk.

Please be sure to check the terms of service and the latest laws and regulations for each service regarding the commercial use, copyright, and policies of AI-generated images.

Note that while generative AI (Gemini, Claude, ChatGPT, etc.) was used in the writing of this article for research assistance and text formatting, the structure, analysis, arguments, and judgments of the article are entirely the responsibility of the author.

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📚 List of Reference Sites

Academic Papers (Sources for theories in Chapter 7)

・Anticipatory and reactive mechanisms of habituation to visual distractors

(Nature Scientific Reports, 2025)

URL: https://www.nature.com/articles/s41598-025-04082-5

・The Cross-Cultural Interplay of Visual Attention and Artistic Design in Comics

(Cognitive Science, 2025)

URL: https://onlinelibrary.wiley.com/doi/10.1111/cogs.70091

・Reading comics: The effect of expertise on eye movements

(PMC, 2024)

URL: https://www.ncbi.nlm.nih.gov/pmc/articles/PMC11726626/

・The limits of time and transitions: Challenges to theories of sequential image comprehension

(Studies in Comics, 2010, Neil Cohn)

URL: https://www.visuallanguagelab.com/P/NC_Time&Transitions.pdf

Books

・Scott McCloud "Understanding Comics: The Invisible Art" (1993)

・Neil Cohn "The Visual Language of Comics: Introduction to the Structure and Cognition of Sequential Images" (2013)

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[Author Introduction]

The author of this article, 'Posu-dori' (also known as 'Kokumu George'), is a trader who, in his daily life, handles product imports and product planning while communicating with vendors in various countries from the Hokuriku region.

For details on my background and profile, please see the following page.

Also, as a business copywriter, I am involved in creating product copy and product descriptions. However, the case studies and explanations introduced here are structured based on Posu-dori's unique perspective—leveraging knowledge of the latest technology and AI, conducting research through paper searches and research reports, drafting, and brainstorming.

Since much of the content within the article is AI-generated, this is an activity as a different type of author rather than traditional writing work.

Furthermore, Posu-dori also regularly introduces the latest papers, research results, and case studies on X (formerly Twitter, https://x.com/596), allowing readers to freely enjoy new insights and inspiration.

This note contains a wealth of diverse content created through the collaboration of AI and humans. As a new form of next-generation reading material, please take a look at other articles, follow me, and enjoy the latest information.

※[About the Content Generation of This Article]
As written in the author introduction, this article also utilizes advanced AI tools such as ChatGPT (OpenAI), Claude (Anthropic), and Gemini (Google) to conduct paper searches, research reports, drafting, and brainstorming.

The generated text is used as a first draft in accordance with the terms of service of each respective service.

The content posted is also in compliance with those terms. Please note that the final text is always verified, edited, and rewritten by the author to ensure originality.

Heartfelt thanks to each AI tool that contributed significantly to the generation of this article. And heartfelt thanks to the readers who have read this far.

[Important Notes]

1. The content of this article includes the author's personal views and hypotheses. These may not necessarily align with general perceptions or the opinions of experts.

2. The information in this article is current as of the time of writing. Some information may become outdated over time.

3. Please practice and apply the content of this article at your own risk. The author cannot be held responsible for the results of any actions taken by readers based on the information in this book.

4. This article is based on the author's experience and domestic/international case studies, with the text refined by ChatGPT, Claude, and Gemini.

5. Please follow the rules when citing the content of this article. However, as stated, this is based on the author's experience and may not necessarily be correct knowledge, so please use it as reading material or for reference.

6. The copyright of this content belongs to the author. Unauthorized reproduction or duplication beyond the scope defined by Note's terms of service is strictly prohibited.

I would like to express my heartfelt gratitude to each AI tool that contributed significantly to the generation of this article, and above all, to the readers who have read this far.

[Important: Disclaimer regarding news commentary and investment advice]

This article is intended for news commentary and general information purposes, and aims to share corporate trends, industry research, and marketing research. It does not recommend the buying or selling of specific financial products or stocks.

The information and views presented are part of news commentary and do not constitute investment advice.

This does not recommend investment in specific stocks or products, and the author assumes no responsibility whatsoever, so please make all final investment decisions yourself.