The development of Guoman is not overnight,The cultivation of the system also requires time and capital investment。

Sister Ming Jue wants to do animation, it's very good, Zhou Fangyuan supports it, but he still has to check Sister Ming Jue. After all, until he was reborn, Guoman didn't really raise his head again, it can only be said that it is better than in previous years, but that's all.

In the years before Zhou Fangyuan's rebirth,Guoman's development momentum is very strong,But there are also a lot of criticisms,For example, the most common,It is criticized by many people,Guoman has a very strong Japanese manga style。 But one thing that must be admitted is that although these styles imitate the style of Japanese comics, their content and plot are based on the local culture of China, and they have their own unique content and narrative style.

Such as the future fire of "Fox Demon Little Red Lady", "Spirit Deed", "Town Soul Street" and "Kuiba", etc., although the portrayal of the characters in the picture has a Japanese style, but they all have their own unique core culture to promote their respective plots. For example, the guardian spirit of Zhensoul Street has military generals from the Three Kingdoms, and the strong historical origin makes the audience once again impressed by the author's superb imagination. For example, in the two comics of the fox demon and the monster list, the character of the nine-tailed fox that the Chinese people talk about is introduced. The former is a fox demon clan, and the latter is a thousand-year-old demon nine-tailed fox Daji. Although it can be seen on the screen that these two works are in the style of Japanese comics, the content of the story attaches great importance to the local Taoist culture!

Many comic fans don't understand why they want to imitate the style of Japanese comics?

This is because Japanese comics are the mainstream comic ideology today, and basic comic fans have accepted this style. And as far as comic authors are concerned, there is also a lot of education about the style of Japanese comics.,So whether it's the author's strength or the preferences of the audience's fans,It's a better practice to have your own comics with a Japanese comic style!

In addition, many comic book authors have not yet developed their own unique style.

For example, the famous cartoonists of Fuso have their own unique styles, such as Takahashi Rumiko, it is a beautiful style of painting, the early stage of "Inuyasha" and the later stage of "The Reincarnation of the Realm" all have their own unique style of painting, can you say that it is a typical Japanese comic style?

And finally, I have to talk about it,Guoman actually has a lot of works that are not Japanese comic style but are still great,Not most of them are Japanese comic style。 Like "Under One Man", the exceptionally excellent "Choir", etc., all of which do not adopt the conventional Japanese comic style, especially the strong Chinese style of the choir, as if you can smell the fragrance of the ink in every frame and word!

In addition,To be honest,Guoman's heritage is actually very, very deep。

Due to the specific cultural origin and historical background of China, China's comics are unique and different from Western comics, cartoons and emerging animation images.

First of all, most of the comics were produced in the turbulent social environment of modern times, and the severe national crisis made Huaxia comics express their desire for democracy, freedom and peace in a direct way. Correspondingly, the many years of anti-aggression and anti-separatist wars have made China's cartoons full of combat effectiveness and resistance, and they consciously bear the heavy responsibility of saving the country and the people. This is fundamentally different from entertainment-oriented cartoons, animations, and comics.

Secondly, the uniqueness of Chinese comics lies in the fact that they are good at mining materials from literature, borrowing allusions and customs to express current things and phenomena, and quoting the characters in them to express them in a simple and easy-to-understand way, so they are easy to accept by readers, even readers with different cultural levels.

In addition, most of China's comics are created with traditional Chinese ink painting techniques, which are characterized by infinite changes and far-reaching artistic conceptions, which express the unique aesthetic value of China's painting art.

Throughout the history of comics in China, from the ancient comic carvings, that is, the carving works with humor and humor, such as the stone carvings of the Han Dynasty to the newspaper and periodical satirical paintings in the late Qing Dynasty and the early Republic of China, it can be said that they have been formed by thousands of years of historical precipitation; while closely following the political climate, they also directly or indirectly record the social state and people's attitude towards life at that time, thus forming a peculiar illustration of modern Chinese history.

Because of China's specific cultural origin and historical background, Chinese comics are fundamentally different from Western comics, cartoons and emerging animation images.

In terms of style, Chinese comics not only embody the customs and hobbies and appreciation habits of the Chinese nation, as well as the characteristics of the people's life, but also take into account the thoughts and feelings of the people; they also love to adopt folk arts such as metaphors, idioms, and proverbs that are familiar to the Chinese people from the conception stage, and strive to be popular and vivid, concise and concise. Therefore, it constitutes a more distinctive national characteristic of China's comics.

In addition, among the many excellent works of Chinese comics, traces of Western comic expressions can be clearly seen. Zhang Guangyu, the main force of comics in the 30s, was committed to the exploration of comic painting methods, he used rich and multi-category creative experience, and at the same time absorbed the characteristics of Western modern art, the characteristics of China's traditional folk crafts and Western schools of painting mixed together, through his own pondering, digestion, the formation of decorative painting comic style. This distinctive decorative painting method made Zhang Guangyu the founder of the Chinese comic decorative painting school and one of the pathfinders of modernist art in China.

Influenced by it, Zhang Zhengyu's creations are also full of decorative flavors, such as his "Mermaid of the South China Sea", "Peach Garden", "Honolulu Dance", etc., and the artistic techniques are very bold and avant-garde.

Hu Kao's "New Zhong Kui Ward Off Evil Spirits" is also a prominent example of the combination of Chinese and Western painting methods, the comic uses heavy Western decorative lines to outline the body outline, but the shape uses the method of traditional Chinese opera New Year paintings, which is rich in form. Cai Ruohong, who was deeply influenced by the German satirical cartoonist Georg Gross, also fully embodies the combination of Chinese and Western painting methods in her creation. His tone and technique are similar to Gross's, but his use of lines has his own personal style. In addition, Ding Cong, who was influenced by Western painting, was also good at using lines with decorative flavor for detailed depiction, making his works a unique combination of Chinese and Western styles.

Moreover, the expression techniques of Chinese comics are actually diverse, including symbols, metaphors, exaggerations, etc. In comics, it is often used to highlight the characteristics of the subject depicted, so as to explain the theme more vividly and popularly, so as to deepen the theme. For example, Qian Zhihe skillfully used the homonym of "ape" and "Yuan" to compare Yuan Shikai in "The Hundred States of Old Ape", which not only highlights Yuan Shikai's ridiculousness and trickery, but also has a profound meaning. Another example is Xie Jintai's "The Whole Picture of the Current Situation", which aptly uses the metaphor of the beast to highlight the ambitions of various imperialists.

Exaggeration is also one of the most prominent features of comics.

The purpose of exaggeration is to consciously magnify a certain basic feature of things, so as to highlight the essence of things and make the contrast between right and wrong, beauty and ugliness more distinct, and the object of exaggeration is not only limited to the image of the person, but also the exaggeration of content and essence.

For example, Hua Junwu's "Mistaken Youth" made the young men full of beards and the girls full of gray hair, exposing the disadvantages of satirizing the empty and lengthy speeches of the meeting. Liu Qingtao's "The First Step of "Diagnosis"" depicts the doctor not first treating the patient, but shining a toothlight on the patient's pocket to see if he has any money, which is both laughable and ironic, and at the same time does not distort the reader, and appropriately reveals the essence of the facts.

Since ancient times, China's comics have been a synthesis of various art categories, which are not only different from traditional painting art, but also deeply influenced by traditional Chinese literature and opera.

First of all, in addition to the application of international drawing materials and techniques, Chinese comics also combine the unique traditional ink painting techniques of Chinese painting. The Chinese comic book is in the same vein as traditional Chinese painting, attaching importance to the depiction of gods, expressive freehand and line outline. It emphasizes the portrayal of the mental state of the characters, and uses exaggerated techniques on the basis of realism to capture the spirit of the characters and depict them vividly. In traditional Chinese paintings and folk New Year paintings, the fit between poetry and painting often makes the picture express a far-reaching artistic conception and a long charm. The combination of poetry and painting is also a unique artistic expression of Chinese comics, which breaks the limitations of the picture image, makes the meaning of expression deeper and wider, and more infectious.

In addition to giving people the unique aesthetic enjoyment of Chinese artworks, Chinese comics also adopt the artistic expression of traditional paintings, which also makes the painting more charming, and the meaning is more concise and profound.

At the same time, the composition of domestic comics also pays attention to the beauty of form. The figures, props, the arrangement of the environment, and the use of lines are all carefully designed by the painter.

Second, Chinese comics are also good at digging materials from the long-standing Chinese literature, quoting aphorisms, fables, idiom stories, characters and storylines in operas, creating an easy-to-understand sense of resonance, and borrowing allusions and folk customs to express current things and phenomena, which are easily accepted by readers. Even readers with a low level of literacy will be able to grasp the meaning and humor.

Manga is not obscure, so it is often effortless to read. However, the easy-to-understand style does not mean that the content is superficial and the expression is limited, on the contrary, Huaxia comics incorporate the essence of traditional Chinese art into themselves and refine them, forming a simple artistic effect. Cartoonists absorb the essence of traditional art, combine their own knowledge and cultivation, and master the basic rules of comic creation, so as to create concise, clear and profound works.

So you can't just look at the shortcomings of Guoman,You should also look at the hidden advantages of Guoman,But colleagues can't be complacent,We do still have a gap。

It's not that the Chinese people can't do it, but whether it is Fusang or the United States, their cartoons have gone through decades of development before they have come to today's point step by step. And Guoman,Although it has a long history,But the predecessors rarely made a special summary。 In modern times, when comics began to become a system, our country and nation went through the most difficult period. Finally, after this period passed, the country wanted to develop and concentrate more forces in more important areas, so the comic field had no choice but to give up.

In other words, China's comics, in addition to the cultural heritage that has been handed down since ancient times, have basically started to develop again in the past few years. People have been developing for decades, and you have only been developing for a few years, and you want to catch up? It's not impossible, but it's very difficult.

However, now that the country has begun to have the energy to turn the ship around and face up to the importance of comics and other fields, I believe that the development speed of related fields will continue to accelerate.

Especially comics, it's not just something to have fun.

In fact, if you look closely, China's modern and modern history is really a history of war. So the Chinese comics that grew up in the ups and downs of struggle and turmoil have always adhered to one main line, that is, the theme of loving the country and the people.

Throughout the history of Chinese comics, the patriotic main line of anti-imperialism, anti-feudalism, and anti-bureaucratic capital has always run through. Counting from the Boxer Rebellion's rebellious comics, the patriotic theme of Chinese comics has never changed. Some of these works are straightforward, some are vague, some praise and some satirical criticism, and all kinds of works are colorful, but they are all for the theme of safeguarding national dignity and establishing the spirit of the Chinese nation.

The satirical cartoons of the late Qing Dynasty and the early Republic of China and the propaganda cartoons of the Boxer Rebellion boldly attacked the imperialist and feudal forces, and the purpose was to aspire to usher in a new society of democracy, fairness, unity, and freedom; the satire and criticism of the great powers in the 20s and 30s were an expression of the Chinese comics' concern for the peril of the nation and their expectation of national independence and self-improvement; during the War of Resistance Against Japanese Aggression, it was the mission and task of our comics to fight back against the aggression of the Fuso invaders and rejuvenate the Chinese nation; during the War of Liberation, the resistance and criticism of the separatist forces were also the missions and tasks of the Chinese comics for the unification of China. After the founding of the People's Republic of China, China's cartoons adhered to the position of safeguarding national interests and people's rights, and contributed to the country's right track.

To this day, the theme of comics in our country should still be to praise virtues and good deeds and lash out at social ills.

Moreover, compared with boring texts, illustrated cartoons are easier to gain a foothold in the field of propaganda and are easier to be recognized among young people. Of course, this should pay attention to ways and means, too much preaching is easy to cause disgust, the best way is to edutainment, in entertainment, to pass on some spiritual concepts, this is what comics, and even animation, animation should be done. The more entertaining the age to death, the more thoroughly entertaining it is. Entertainment needs a bottom line, and manga and anime need to play a positive role.

Sister Mingjue recently worked in Yuanfang Comics, Zhou Fangyuan's idea was to let her try to participate in the work of animation production, in the future, in the field of animated films, Zhou Fangyuan needs someone to expand the territory. This person may be Sister Mingjue, of course, it may be someone else, what will happen in the end, Zhou Fangyuan is not sure, he can only hold a mood of expectation, watching Sister Mingjue's growth, how far can he go.