Thu, Oct 17, 2019 - Page 13 News List

Waiting for Taiwan’s manga superstar

This year’s Taiwan Comic Art Festival looks at the different possibilities of using cross-platform collaboration to promote the nation’s growing, but still niche, comic industry

By Han Cheung  /  Staff reporter

Hades Apocalypse is a comic-turned-stage play featuring Taiwanese folk religious elements.

Photo: Han Cheung, Taipei Times

Taiwan needs a superstar comic character, says Chang Min-hui (張敏慧), manager of Basisbooks (基地書店), which is exclusively devoted to Taiwanese comics.

Japanese heavyweights such as Doraemon, Son Goku and Naruto are not only household names in Japan, but are also wildly popular globally. The average Taiwanese, however, would likely be hard-pressed to name a single local comic character.

The immense star power of these Japanese characters have often been utilized to promote other industries, including the 2020 Tokyo Olympics. In Taiwan, it is the opposite, says Lo He-ling (羅禾淋), curator of this year’s Taiwan Comic Art Festival (台灣漫畫藝術節), where he explores ways to expand Taiwan’s comic audience through cross-platform collaboration.

“Since Taiwanese comics are still a niche market, they must rely on other platforms,” Lo says. “How do we make Taiwanese comics an integral part of people’s lives [like they have in Japan]? We have to provide more avenues for people to come in contact with them.”

For example, non-comic reading fans of the television drama Yong-jiu Grocery Store (用九柑仔店) may be compelled to seek out the comic series by Ruan Guang-min (阮光民) that inspired the show.

Visitors to the festival, held in the exhibition space above Basisbooks until Oct. 23, may be surprised at the volume and variety of Taiwanese comics, which in recent years have been shifting towards local themes, from temple festivals to Aboriginal culture to the White Terror. In addition to viewing comics through stage plays, cuisine, literature and pop music, the exhibition is also collaborating with nearby guesthouses and boutique hotels as well as the Taipei Museum of Contemporary Art (MOCA, Taipei) to boost the industry’s visibility.

Exhibition notes:

What: 2019 Taiwan Comic Art Festival

Where: Taiwan Comic Base, 38, Huayin St, Taipei City (台北市華陰街38號)

When: Through Oct. 23, 10am to 8pm, closed Monday

Admission: Free

On the Net: Download bilingual brochure pdf at shorturl.at/clny2


“There’s no way to directly compete with Japan,” Lo says. “But let’s not worry about the market for now; what we need is to continue developing a solid body of work. It’ll take five or 10 more years before there can be a market.”

A LATE START

While Japan has been pumping out smash hit mangas since the 1950s, Taiwan’s comic scene has only really taken flight in the past decade or so. In recent years, Taiwanese comics have made a splash at international festivals, while the Ministry of Culture continues to encourage creators through funding, hosting the annual Golden Comics Award and in January establishing Taiwan Comic Base, which contains Basisbooks.

But Chang says the reality is that, for example, while selections of Taiwanese comics are available in France in the local language, some of these works have gone out of print in Taiwan. Publishers still look at the mass market, and the situation is not unlike Taiwan’s film industry living under Hollywood’s shadow despite the improving quality of its output. Customers still come in looking for a popular Japanese manga and leave disappointed that the store only sells local art.

What’s encouraging, however, is the expanding demographic of local comic readers. In the past, not only were comics considered juvenile entertainment, parents also discouraged their children from reading them in fear of affecting their schoolwork. Today, Chang often sees entire families coming in to browse comics, with parents taking an active interest as well.

Lo says that the delayed development of Taiwan’s comic industry essentially stems from the government’s strict censorship system during the Martial Law era. Since publishing companies did not want to risk spending time and money cultivating local artists only to have the book fail government inspection, they took the safer path by pirating Japanese works. Taiwan had no copyright laws back then, and this was a low-risk business model.

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