You Sulan's is also good, but the painting style is relatively old, and it is also a girlhood cartoon
The cartoon is easy to read, humorous and has a wide range of readers' ages. It is the best commercial character among all kinds of publications, and the products derived from comics are even more enviable!
In Asia and even the world, the advantages of Japanese comics are obvious. The efforts of Japanese cartoonists for half a century have also won Japan the reputation of "comic kingdom", and Taiwanese cartoons have also grown under its influence.
I. Overview of the development of early Taiwanese cartoons
The content of early Taiwanese cartoons basically reflected the social reality, such as the gap between the rich and the poor, soaring prices, corrupt officials and so on, and cartoons almost played a positive social function.
1. The rise of the first generation of local cartoons in Taiwan Province
In p>1927, it was said that Yang Guocheng and Chen Jizhang drew a political cartoon of the Taiwanese governor standing in the capital city in Taiwan Province People's Daily, and they were detained by the police for 2 days. Some people think that political freedom and degree can be seen from cartoons. For example, early cartoons in Taiwan Province were mostly political cartoons, or cartoons with strong national consciousness. It is worth mentioning that the first cartoonist in Taiwan Province, Hu, called Jilongsheng, published the first set of Jilongsheng Comics in 1935.
In p>1945, the first comprehensive magazine, Xinxin Monthly, was composed of four young people with strong national consciousness and enthusiastic culture, including Chen Jiapeng, Wang Huaye Jiahong and Hong Chaoming. They were undoubtedly pioneers of the local cartoon generation in Taiwan Province, and Xinxin Monthly published eight issues, which ended because of funding problems. Almost at the same time as the monthly magazine Xinxin, Wang Chaozong's long cartoon, especially the first episode of the Beijing-language cartoon "Biography of the Water Tiger", was published, which was the first comic book of the border ring after the recovery of Taiwan. This is a phenomenon of cultural transformation in the early days of recovery. A year later, he published another comic book about the Three Kingdoms, Diao Chan, and other comic books, such as Little Swordsman and Dream of Banana Fan. He can be said to be the first comic book in Taiwan Province.
2. Newspapers are the cradle of early cartoons
Early cartoons were concentrated in newspapers, and political cartoons were the main ones. In 1949, cartoonists Liang Youming and Liang Zhongming founded the first large-scale comic publication, Pictorial Times. The contents of its three issues include International Political Comics, Social Comics, Humorous Comics and Comics. Besides the Liang brothers, the main painters are Niu Ge, He Chaochen and Luo Fuwen. However, it was incorporated into the Central Daily News because it lost 2, yuan (the currency value at that time) in less than one year. Later, it was closed in 1955. In 195, New Life opened a full page of New Life Comics, which was later expanded into two editions. The second edition added a large number of humorous cartoons, which formed two comic camps with the original political comic strips.
The bimonthly China Labor, which was founded in November p>195, has a long history and is the magazine's most attention to comics. In the early days, it not only contained the most comic works, but also recruited the most comic writers. I have done my best for the early comics to send tuxedos, which has a promoting effect and long-term influence.
In October, 1953, the large-scale comic publication Folk Pictorial was founded, published by Zhang Wufeng and edited by Li Jinghong. In each issue, besides Liu Chengjun's Current Affairs Comics, Liang Naiyu's Social Comics, Wu Tingbiao's Folk Songs Comics, and Hu Sanyuan's How to Draw Comics, comic books include Niu Ge's Four-eyed Frog Biography and Wang Xiaochi's Huangse Girl. In each issue, the collective creation of free submission of themes is announced in advance, and different performances are made by one cartoonist.
On March 25th, 1957, the first comic exhibition, Beizhongshantang, sponsored by Taiwan Province Chinese Art Association was opened, with an unprecedented audience. Newspapers rushed to report it, and literary writers commented on it, which was unanimously considered a successful exhibition. Taken together, most of the above comic works are quite instructive. Although relaxed, they do not lose the writer's idea of joining the WTO, or ridicule, or warn, or educate people's hearts, or express national feelings. There is no cartoon that is purely a story like the popular cartoon.
3. The prosperity of children's cartoons and the low tide of cartoons
After p>1951, children's cartoons were popular in newspapers, such as Niu Ge's Niu Xiaomei, Liu Xingqin's Tintin Tintin, Lu Anran's Biography of Chinese Heroes, etc. The newspaper's comic strips were published every day, attracting readers. If the space is limited, it is not as good as the magazine's publication, and the stories are coherent and coherent. As a result, children's cartoon publications flourished, among which there were many well-known cartoon idols, such as Ye Hongjia's Zhuge Shiro series, Chen Dingguo's Lv Siniang, Liu Xingxian's Brother A and Great Aunt, which left many childhood memories for teenagers at that time. During the 5-6 years, due to the deviation in the implementation of the censorship system of comic books, it became the shackles of comic book creation, which made many cartoonists stop writing or change jobs. In addition, foreign cartoons began to become popular at this time, which caused the low tide of the comic book industry and the gap in talent training. Later, Japanese cartoons invaded on a large scale, so people born after the 5' s and 6' s were used to watching Japanese cartoons, and modern comic book creation was mostly due to Japanese style.
second, the dark period of Taiwanese comics
The sign of the decline of comics lies in the mixed publications, which leads to the government's management. The government commissioned the National Compilation Museum to strictly examine comics with the right of censorship. Every time the publication was revised or prohibited, the original glory structure was changed. Most cartoonists switched to or closed down, and Taiwanese cartoons opened by renting and selling books officially went into the dark period after 197. But what followed was the 2-year piracy history of Taiwanese comics ...
Actually, it was not objective to say that it was piracy, because it was actually very common for the publishing industry to print the works of countries without diplomatic relations without authorization in 1975, because there was no concept of copyright at that time. From the magazine comic king to dr. jekyll and mr. hyde, which entered the market for the first time with a deluxe edition of 36 format, the history of pirated comics was officially opened. From the establishment of production line to the reproduction of mass production, the version has also changed. Every time there is a change, there will be a monopoly phenomenon. Almost all the manuscript sources are controlled by several publishers, and Dongli and Daran have the highest share and the fiercest competition. Dongli still had a 75% share in its heyday, which shows the fact that the publishing industry was monopolized at that time. In fact, it is also due to the incomplete relationship of the publishing law. Dongli Publishing House also published some educational cartoons in the early days, but few people paid attention to them, and they were almost squeezed out of the comic industry. Fortunately, a set of Good Boy sold well all over Taiwan, and it also had a unique management of Japanese-style comics. From "Oriental Comic Weekly" to "New Youth Express" to drive the comic industry, it seems to be the leader of the industry.
Third, the rise of local cartoons in Taiwan Province
Although pirated cartoons were rampant in Taiwan Province in the 197s and 198s, many local cartoonists persisted in their ideals in this difficult period. The Times Publishing, which insists on publishing the works drawn by Taiwanese cartoonists, has been running Joy since 1981, with the wounds of Chen Uen and Cai Zhizhong as the starting point. Moreover, the Comics Challenge organized by China Times has gradually promoted new people into Joy, such as Xiao Yanzhong, Mai Renjie and Sun Jiayu. However, Joy is not a Japanese-style comic magazine.
After p>1981, comic magazines began to be published, such as: Horse Hamburg, Hua Shang Culture Weekend Comics, Weekly Comics, Comic Show, Comic Theater and so on. During this period, many cartoonists were created, such as Gao Yong and Zhang Jingmei in Hamburg, You Sulan in Weekend, Zeng Zhengzhong, Lin Zhengde and Atui in Week, and so on, who created comic strips. Due to the influence of piracy, the whole cartoon industry is naturally influenced by Japanese style. Most of the cartoonists born after 1966 were baptized by Japan and accepted the cartoon expression like Osamu Tezuka.
At this time, news commentary cartoons began to rise. After 1981, comic commentary comics also found room for development in Taiwan Province, where the economy took off. Every newspaper has almost one or two professional commentary cartoonists, such as CoCo of China Times, self-reliant fisherman and Luo Qingzhong, Lao Qiong and Zhu Deyong of Minsheng Daily, etc. Everyone's stand is clear and their paintings are spicy, and once the newspaper is banned, they can all stand up to the full page, which is very popular.
At the same time as commenting on cartoons, the non-news competition among newspapers became fierce in 1981 with the prosperity of the newspaper industry. In 1981, Ao Youxiang's Wulongyuan was used, and suddenly the prospects of four-grid cartoons were promising, and major newspapers adopted them one after another, such as CoCo's Two Horses, Lao Qiong's Cai Tian Open the Door, Zhu Deyong's Another Gun and Fisherman's Review. Zhu Deyong's wound has been published in Hong Kong, South Korea and Singapore in English, and Xiao Yanzhong's "Cong Cong Tong Xin" is a gesture to enter the international market. The characters' modeling and cartoon specifications are all aimed at foreign newspaper serials. With simple format and few dialogues, the four-grid cartoon is the most international type.
In p>1991, just as the pirated market copied Japanese comics in thirty-six volumes with books and clothes, the market was in short supply, which also warned the arrival of the officially authorized "copyright" era. At that time, there were many popular comic books published by various agencies, and Japanese comics published in Taiwan Province almost became a miniature version of Japanese comics published in Taiwan Province. Due to the familiarity of various publishers with the market operation in the era of piracy, they soon occupied the market space after the piracy receded. At present, Dongli and Daran still have the highest share, and all of them work according to the editing direction of Japanese cartoons, which is the mainstream in the market with the newly emerging Taiwanese cartoonists. Gradually, there are autograph sessions for large-scale writers in comics, and there are comic development for different ages due to the age of comics, such as "The Tip of Youth", "Youth for Children" and "The Times for Adults". After copyright began in 1992, publishing houses began to consider how many cartoon talents they could have, and began to seek or cultivate new cartoonists, such as practicing masters such as All the rage, Miss Sex by Li Mianzhi, The Little Monk by Lai Youxian, etc., and new writers who are well-known in the market.
With the maturity of Taiwanese cartoonists, many wounds have gradually entered the international stage. For example, Chen Uen successfully landed in Japan with his painting style and serialized in Japanese cartoons, which impressed the four little dragons in Han Xing, Taiwan Province. It is understood that the copyright of Germany and France has also been sold; Lin Zhengde became popular with the series "YOUNG GUNS", whose products have ranged from paper products to animated videos, and the French copyright has also been negotiated.
In a word, the growth of Taiwanese comics is like the process of Taiwan Province's cultural and economic growth, which is full of thorns along the way, but the overall efforts of Taiwanese comics are worthy of recognition.