Hoan-gêng kong-lîm netizens. Fracadactyl speaking about Taiwan and its comics.
The Republic of China (a.k.a. Taiwan) has a long history of being oppressed, isolated, and overlooked by its neighbors. Fortunately recent developments have put the country on a lot of people’s radar; sports, democracy, and of course comic books and video games. New York Comic Con 2018 and Anime Fest had a lot of panels; Not least of which involving Taiwanese content such as Unforgivable: Eliza, an AR detective app game. Unlike other AR games like Pokemon Go it shows a story and displays the complicated history of Taiwan.
Taiwan gives credit to several artists under Taiwan’s atmosphere. One of Taiwan’s biggest and notable events are its conflicts with mainland China. If it’s not the island’s takeover because of its borders being forced open, it’s conflicts with the Qing Dynasty and Imperial Japan. Most recently, it’s China’s civil war that separates the democratic Republic from the Communists of Mao Zedong.
As a matter of fact, it is these conflicts with China that cause issues with the comic industry of Taiwan. Overly concerned politicians attempt to censor content that even has a resemblance to main land China. Kind of ironic considering Zedong’s wife pushed for the ban of comics and animation in the main land. The 1950s to the present day were a turbulent time for comic book artists; having to deal with their craft under censorship. Red Scare, look at what you have done to us.
The Comic Code of Taiwan
Most of some of Taiwan’s early manhua don’t always deal with people hitting each other; some are survival guides like Xiao Bo-Shi. The 60s were the popular time with subjects like martial arts causing comics to rise in popularity with artists being superstars. It was practically a testament to Taiwan’s rapid economic growth and industrialization.
The rising popularity of those series like those penned by Hsu Mao-sung, however brought concerns. The older generations fear that readers would grow rebellious and follow in the path of the communist regime. How something that expresses ideas is a communist ideal is beyond me though. Communism involves total conformity, not expressing of subjects that people don’t like.
But by that point, Taiwan’s own Comic Code rises up. Content goes under review and whatever the committee didn’t like had to go. Of course there was the standard no killing or bloodshed but some restrictions are just ridiculous. Mad scientists? Science is supposed to good! High flying acrobatics? Humans can’t do that! Open palm fists? Too Chinese! Sometimes the artists would be called in for questioning. This sounds worse than the American Comics Code.
Irony Hits Harder than a Cannonball
For over twenty years, the Taiwanese manhua industry is hurt badly. The once celebrated artists were treated as potential war criminals. All under the eye of the one-party dictatorship of the Kuomintang. The Martial Law ends in 1987 as the multiparty democracy took over.
One notable artist named Chen Uen makes use of ink-wash techniques to create comics. They are so well made, he is the first foreigner to win a Japanese award with his comic Heroes of the East Chou Dynasty. But the damage was already done as conditions were still unfavorable for comic artists in Taiwan. Heck, Uen’s legacies are better appreciated by mainland China than it ever was with Taiwan. To add salt to the wound, like most comics they became overshadowed by cheaper manga imports and TV had already began to take hold.
Taiwan Rises Up
However, this doesn’t mean the creators go down without a fight. In fact, despite the less than lukewarm treatment, Taiwanese artists always want to stay attached to their country. Most of the manhua are based in newspapers. A lot of them don’t even neglect their roots as Chinese people either. In fact many of them want to remain ingrained with Chinese culture and philosophies. But with neither the Republic or “People’s Republic” willing to compromise, this causes some tensions in regards to national identity. Yet identity is a free conscious thing not just something that ties you to where you are born as found in Son of the Sea by Chen Jian.
Progress by Fan Community
Communities like the Cartoonist Association of the Republic of China and National Manhua Competitions form in response. Slowly but surely the industry starts to build up with 2017 allowing Taiwan’s government to support homemade comics and animation; especially if it got them awards.
In the last decade, progress is steady with Taiwan no longer needing to prove themselves to express their culture, history, and identity. A good chunk of content currently exists on the web based market. One particular project called the Books from Taiwan shows notable manhua in recent years that includes several winners of the Golden Comic awards such as Seasoning of Happiness and Record of the Dark Wars. In recent times, a bookstore even allows Taiwanese creators a platform for promotion.
The Prime Examples
There are a couple other Taiwanese comics I always find on the top lists. Yet The One by Nicky Lee and 1/2 Prince by Yu Wo, are somewhat reminiscent of their Japanese competitors. The One shows typical shojo manga tropes and art style about a clumsy wannabe model chasing a handsome guy; but the table flips when it becomes a deep understanding of personal issues both in the fashion industry and in everyday life like depression and loss. 1/2 Prince meanwhile is about a VRMMO; unlike similar premises is simply about connecting with others and enjoying a good game unlike the oversaturated isekai stories of Japan.
Taiwan isn’t one to shy away from its heritage or influences. But that doesn’t mean that it’s held down by them either. Sometimes you have to beat the competition at their own game. Or better yet show that nothing can stop you from showing who you are as a culture. And the ink’s not dry yet for this country’s comic industry. Remember to look between the panels.