At the beginning, "Drawing King" was going to open up popularity, so it mainly serialized excellent Japanese comics.

Because "Drawing King" is a collection of the latest serialization of a variety of Japanese comics, its content speed is quite close to that of the Japanese side, which has aroused the pursuit of domestic fanatical comic fans, and the peak sales of each semi-monthly magazine have reached more than 800,000 copies! Its profits are deeper and more influential than those of a single book.

Because "The King of Paintings" is extremely influential, and it is crazy about pirating Japanese comics, it has led to serious piracy in the market.

It is estimated that at least 8 counterfeit copies of "The King of Paintings" were published on the market at that time, and Japanese comics were seriously infringing; This situation has received great attention from Japanese publishers.

The Japanese side went directly to China's Central Information Bureau to investigate its responsibility. As a result, the authorities began to tighten regulations on comics.

In the face of pressure, "The King of Paintings" immediately changed its strategy and threw out a call for original submissions from Chinese people.

This news is like casting an atom in the hearts of comic book fans in 94. Play.

Since 1990, the Japanese animation "Saint Seiya" has been continuously broadcast on most domestic TV stations, marking the entry of Japanese comics into the domestic market.

The call for submissions for "The King of Paintings" is the first of its kind and of great significance. Therefore, in the history of domestic comics, the existence value of "Painting King" is also very important.

Later, the first-line comic creators in China basically started from "The King of Painting".

For example, Hu Qianrong, the author of "Cindy Layla", and Jiang Ling (Free Bird), the author of "Red Bean Yuan", both became well-known female cartoonists in the Chinese comic world in the future.

There are also Yao Feila, the author of "Happy Christmas Eve", Yan Kai, the author of "Snow Coconut", and Zheng Xusheng, the author of "Teacher-Student Love", who have also become influential cartoonists in the Chinese comic industry since then.

Especially Yao Feila. He is one of the most influential figures in the Chinese comic world.

His works have been invited to participate in the Asian Comics Summit every year, and he was also invited to participate in the Asian Comics Forum held in Japan in 2001 and was praised by the manga master Masami Cheda.

The representative work "Dream Man" has set many records in Chinese mainland for the longest serialized comic time, the longest length, the first adapted animation, and CCTV's first youth animation.

He founded SUMMER Studio, which has won many awards in the comic world.

It can be said that the key to China's talent is whether you can cultivate it, and it is the efforts of the first generation of cartoonists in New China that the proportion of domestic comics published in "Painting King" is getting heavier and heavier, just take the anniversary of nearly one million sales.

Among the 10 medium-length comics that are being serialized, Japanese comics account for only 4 articles, and Chinese comics occupy 6 articles; And the 5 short comics serialized,2 Japanese comics,3 Chinese comics。 In just half a year, "The King of Paintings" has adjusted the publication ratio of Guoman and Japanese comics to this point without affecting sales.

It is a pity that those old artists who make a living by drawing comic strips cannot tolerate the impact of comics on comics, and in order to maintain the status of comics in China and their own interests, these old artists and old literary and art workers jointly call for a boycott of Japanese comics in newspapers.

With the support of some people, there has been a wave of boycotts of Japanese manga in China, and even boycotts of the emerging Chinese manga industry.

With the request of a certain leader at the meeting, the promising magazine "Painting King" collapsed, and a group of cartoonists who had just been trained were faced with the situation of not being able to find a place to submit their manuscripts, so they had to find another way to make a living, and the first rise of the Chinese comic industry failed.

However, it's not that "The King of Paintings" fell, and comic books could rise, I believe everyone who has seen comic books and comics knows that these two are not at all a level of things, whether it is design or creativity, whether it is painting style or story plot, it is not comparable.

Even people who have never read comics and comic strips, as long as they put the two together in front of his eyes and let him choose, he will know who to choose at any time, after all, it is clear who is good and who is bad.

Of course, this is talking about the style of painting and the storyline, if you simply compare the painters, the old artists who painted the comic strips can throw off Akira Toriyama and others for several streets, but the good painters do not mean that they are popular in the market.

Comics affect students' learning, Lei Weidong admitted, but why does comic strips not affect learning Lei Weidong didn't figure it out, but then he saw domestic animation beaming, Lei Weidong knew, comic books are for teenagers under the age of 10, as for the larger youth market, I'm sorry those masters didn't consider this piece.

I believe that anyone who has seen a comic book knows that a comic book is generally an illustration with a paragraph of text within 100 words for a page, the content of the picture shows the text content, the text content supplements the content of the picture to a certain extent, and the proportion of the picture and the text is half and half.

As a result, comic strips are usually narrated from an objective perspective (third-person narratives, many in Europe and the United States are first-person narratives, but most of them are presented in the form of narration), and rarely involve the psychology of the characters.

Because of this form of comic strips, the amount of content he has is not large, and he can basically only tell a simple and clear story, but cannot describe complex emotions and portray plump characters, as well as lead the reader's emotions.

The inability to lead the reader's emotions also leads to poor reader-inflection, which is known to anyone who has read online novels.

The key to the quality of a work lies in whether it can lead the reader's emotions and put the reader into it, perhaps because those old artists have too high status, the high ones have administrative levels, and the high ones have been separated from the reader's group.

In order to cater to the tastes of readers, a group of pioneers of Japanese manga pioneered and tried to borrow from other types of cultural works such as movies to enter manga, and fully stimulated the maximum energy that can be displayed on a blank piece of paper, and developed a modern story manga form called "paper movie".

In addition, he has carried out a wider exploration in the field of subject matter, and has carried out unprecedented excavation in the depth of manga, and has created unique works that can only be fully expressed in manga, such as Tezuka's immortal masterpiece "Firebird".

In Japanese manga, the picture and the text are the most closely combined, and they are equally important to the role of the manga and cannot be separated. There are many rules for the creation of Japanese manga, and the degree of attention to detail is also very high, so I can't go into detail about them, so I can only point to them.

However, in terms of creative means and form, Japanese manga is centered around storytelling.

Storytelling, just one storytelling, comics will defeat comic strips, and those stubborn old artists still insist on the revival of comic strips, not only refusing to change anything, but even not allowing others to change, for the revival of comic strips do not hesitate to move to the stumbling block of "The King of Paintings", and even demand a complete boycott of Japanese comics into the domestic market.

Isn't this a joke, this is not the Manchu Qing Dynasty, the country was closed to the outside, reform and development is the general trend of development, and no one can stop it.

Japanese comics want to enter China, as long as they do not involve black, pornography, violence, and national policies, they can't be stopped at all in that era, and there is no resistance from the domestic comic industry, just relying on comic books, Japanese comics easily monopolize the domestic market.

The country's leaders also saw the weakness of the comic strip and the stubborn insistence of the old artists on not changing the situation, and made up for it.

A year later, in 1995, the country. The Propaganda Department and the Press and Publication Administration will make high-profile announcements through CCTV and other powerful mainstream media:

The "China Comic Publishing 5155 Project" was officially launched, led by five publishing houses, namely Liao'er, China Children's, Children's and Children's, Relay and Sichuan Children's, and the goal of establishing five comic publishing bases; He also founded five comic publications, including "Beijing Cartoon", "Juvenile Comics", "Comic King", "Cartoon Pioneer" and "China Cartoon". ”

It's because Chinese comic books have reached the point where they can't be changed.

It's a pity that the suspension of "Painting King" is not a magazine, but a good opportunity for Chinese comics to start quickly, although it is only a year, but the damage to the Chinese comics industry can not be made up for ten years, as the saying goes: the opportunity must not be lost, the time will never come.

As for the 5155 project, it became a joke in the end, and the sales of the five comic publications of "Beijing Cartoon", "Juvenile Comics", "Comics King", "Cartoon Pioneer" and "China Cartoon" together did not exceed that of "Painting King".

The rise of Chinese comics also requires the efforts of future generations.

Of course, this is the situation that Lei Weidong experienced in his previous life, and now, Lei Weidong looked at Victoria Bay in the distance, and couldn't help laughing: "With me as a traverser, there are so many advantages, if you can't let Chinese comics rise, I'm too sorry for the identity of a traverser." ”