Create a polished, high-quality Japanese anime-style educational comedy manga, approximately 8 panels, depicting a fictional Japanese advertising agency conducting a serious internal marketing study session about the 1911 theft of Leonardo da Vinci's Mona Lisa from the Louvre. CORE CONCEPT: The entire manga should be presented as a completely serious corporate marketing case study analyzing how the 1911 theft unexpectedly transformed the Mona Lisa from a relatively specialized famous artwork into one of the most internationally recognized and highly valued artworks in the world. The humor must come primarily from the extremely serious, dry, analytical attitude of the advertising-agency employees toward an art theft. Do NOT introduce the Japan Time Management Bureau, any government organization, time-management agents, or manga artists. This is entirely a fictional advertising-agency marketing seminar. IMPORTANT VISUAL RESTRICTION: NEVER depict the actual Mona Lisa painting. Do not show her face, body, silhouette, recognizable pose, partial reproduction, imitation, parody, or any visual reconstruction of the painting. The artwork must remain completely unseen throughout the manga. Represent the missing artwork only through: an empty ornate picture frame newspaper headlines historical photographs of the Louvre marketing charts text references public reactions abstract presentation graphics Do not depict Leonardo da Vinci. STYLE: High-quality modern Japanese anime manga. Polished professional manga composition. Elegant and intelligent character designs. Realistic modern advertising-agency conference room. Clean linework, refined facial expressions, sophisticated lighting. Subtle workplace comedy rather than slapstick. No chibi. No exaggerated caricature. No broad comedy faces. The characters should behave as though this is a completely legitimate and important corporate marketing analysis. MAIN CHARACTERS: Senior Marketing Strategist Elegant Japanese woman in her 30s, intelligent, composed, sophisticated business suit, confident presentation style. She treats the historical incident as a fascinating but serious branding case study. Junior Employee Japanese man in his 20s, smart business attire, earnest, diligent, slightly too literal. He listens carefully throughout the presentation and gradually interprets the marketing analysis far too literally. Department Manager Middle-aged Japanese man in a business suit, calm, analytical, experienced. His expressions remain almost completely deadpan. He occasionally makes extremely dry observations. Additional employees may be present in the meeting room, but everyone should maintain a serious corporate atmosphere. PANEL 1: A modern advertising-agency conference room. Large presentation screen reads: 「MARKETING CASE STUDY 1911」 「1911年8月21日 ― モナ・リザ盗難事件」 The senior strategist begins the seminar: 「本日のテーマは、広告費ゼロでブランド認知を爆発的に高めた事例です。」 The junior employee takes notes seriously. The room looks like a conventional corporate marketing seminar. PANEL 2: A historical timeline is displayed on the presentation screen. BEFORE 1911: 「美術史・美術愛好家を中心に知られる名画」 「レオナルド・ダ・ヴィンチの代表作」 Then: 「1911年8月21日」 「ルーヴル美術館から盗難」 Show an empty ornate picture frame as the central visual symbol. The actual painting must NOT appear. The strategist explains: 「この事件以前から名画ではありました。しかし、一般大衆にまで現在のような圧倒的知名度があったわけではありません。」 PANEL 3: Historical newspaper clippings and reporters surrounding the Louvre. Multiple newspaper headlines report that a famous painting has disappeared. The strategist points toward a rapidly increasing media-exposure chart. Dialogue: 「ところが盗難によって、新聞報道が一気に拡大。」 Junior employee: 「作品そのものより、“盗まれた”という事件がニュースになった……？」 The strategist calmly nods. 「その通りです。」 PANEL 4: A large corporate marketing funnel / brand-awareness chart. Stages: 「盗難」 ↓ 「新聞報道」 ↓ 「世間の好奇心」 ↓ 「作品名の認知」 ↓ 「国際的な話題」 ↓ 「ブランド化」 A second chart shows: 「専門層中心の認知」 → 「一般大衆への認知」 → 「世界的知名度」 The strategist says: 「人々は“どんな絵なのか？”を知りたくなった。」 The actual artwork remains completely invisible. PANEL 5: A serious corporate comparison board titled: 「BRAND VALUE ANALYSIS」 Show historical valuation information carefully and neutrally. Include: 「1911年」 「当時の報道で100万ドル以上の価値とされることもあった」 Then: 「1962年」 「米国巡回展示時の保険評価額：1億ドル」 Clearly label these as historical reported valuation / insurance valuation rather than actual market sale prices. The strategist explains: 「現在、この作品は市場で普通に売買されるものではありません。ですから単純な“市場価格の上昇”とは言えません。」 Then: 「しかし、評価額や保険価額の推移を見れば、作品に付与された経済的・象徴的価値が桁違いに拡大したことは分かります。」 PANEL 6: A corporate case-study slide featuring: 「VINCENZO PERUGGIA」 「ヴィンチェンツォ・ペルージャ」 Do not portray him as a hero or glamorous figure. Present him neutrally as the individual responsible for the theft. A large conceptual diagram shows: 「盗難」 → 「世界的報道」 → 「認知度上昇」 → 「話題性」 → 「ブランド価値の巨大化」 The strategist says: 「もちろん、この価値上昇のすべてを盗難事件だけで説明することはできません。」 Then she adds: 「しかし、1911年の事件が知名度の飛躍的拡大における重要な転機だったことは否定できません。」 Everyone remains completely serious. PANEL 7: The most absurdly detailed corporate marketing dashboard. Display: 「広告費：$0」 「メディア露出：★★★★★」 「ブランド認知：★★★★★」 「話題性：★★★★★」 「一般大衆の関心：急上昇」 「ブランド価値：測定困難」 「広告効果：極めて大きい」 「再現性：極めて低い」 The department manager calmly summarizes: 「広告業界から見ると、極めて特殊ですが……非常に興味深いブランド認知事例です。」 The junior employee looks at the data very seriously. PANEL 8 — FINAL PUNCHLINE: The meeting room remains completely quiet and serious. The presentation screen still displays: 「広告費：$0」 「ブランド認知：★★★★★」 「話題性：★★★★★」 The junior employee, having completely misunderstood the intended lesson, casually raises his hand and says: 「じゃあ、なんか良さげな絵を実際に盗んでみますか？」 Everyone in the room freezes. The senior strategist. The department manager. All other employees. All stare at him with completely deadpan, emotionally exhausted expressions: 「…………」 No one shouts. No one makes an exaggerated comedy face. No one explains anything. The junior employee looks around innocently, as if he genuinely cannot understand why everyone has suddenly gone silent. At the very bottom of the panel, in tiny corporate compliance text: 「※本資料は犯罪行為を推奨するものではありません。」 FINAL TONE: The first seven panels must be played completely straight, like a legitimate corporate marketing seminar. The comedy should be subtle, dry, and increasingly surreal. The final panel should deliver the only overtly absurd joke. The contrast between serious corporate analysis and the junior employee's literal interpretation should create the punchline. Do not depict the Mona Lisa itself at any point. Do not use the actual artwork as a background image, presentation slide, poster, newspaper illustration, screen image, reflection, silhouette, or hidden visual. Only the title/name 「モナ・リザ / Mona Lisa」 may appear as plain text.