Shulou(Shulou.com)11/24 Report--

This year is the fifth year of the original organized contest.

In the past four years, nearly 100 new comics have made their debut with this as the stage, and with their enthusiasm and creative ability, they have won the recognition of Chinese, Japanese and Korean comics "Old Cannon" and the love of readers, and embarked on the road to being a cartoonist. Last year's Silver Award work is said to be a villain lady. "what's more, in Quick View Comics App, it has achieved excellent results of 1.16 million people chasing shifts and 1.351 billion people.

Today, among the nearly 2000 applicants for the Fifth Quick View original organized contest, 50 new comics have stood out with their debut works and entered the finals competing for a number of awards and 450000 prizes.

We can see that despite the constant negative voices along the way, Chinese cartoons are still rising in the stumbling spiral with indomitable vitality; cartoonists who persist in creating with painstaking efforts, and new comics full of enthusiasm and novelty are constantly gathering and impacting, broadening the road ahead of the industry.

Of course, for all creators, the road ahead is bound to hit the rocks. Can not adapt to the serial rhythm, because the reader's criticism / ignore into loss, poor income, loss of enthusiasm, difficult to persist, trapped by "successful" works …... The end of the first words of the first work may mean that the next series of different stages of anxiety has just begun.

But these difficulties can't stop true love.

As a result, nine comic master judges from China, Japan and South Korea, who have been employed for more than 100 years, are specially invited to look back on their own path, share their experiences and thoughts, and hope to help new creators avoid some pitfalls, so that all fledgling energies can be effectively released to a greater extent.

Just Relax! The master of comics will also think about giving up.

"if you start with serialization, the first year should be how to adapt to the rhythm of serialization, and then there will be persistent difficulties (laughter). Serialization has so many difficulties that I want to give up every word."

When it comes to the difficulties that may be encountered in the career of a cartoonist, Chinese cartoonist Ding Bing (masterpiece the cosmic piano does not ring) frankly speaks of a predictable sustainability-even if he has created a successful cartoon, he has to accept the possibility of failure in the next work; for a longer time, such as drawing a cartoon for more than a decade, his enthusiasm and physical state may fade away.

Take a look at Ding Binghetu, the judge of the Fifth original organized Competition.

Meiwei, cartoon editor of Japan's Shuangye Society (the dragon maid of the Kobayashi family) also believes that comic book creators encounter different "traps" at each stage: the first public publication of the work, the response-- read too much criticism from readers, or read too few people-- will put a great burden on the heart. As they gradually enter the stage of maturity, creators are faced with "fighting with their past self", such as setting the rule that "you can't draw anymore", so that there is less you can do.

A year after the first cartoon was serialized, the cartoonist BUDDY (masterpiece du Ling) has entered a period of confusion that most creators may experience. "what I wanted to express in the first cartoon has been realized, and I need to find new creative motivation, so I choose to suspend my creation and study abroad to seek self-growth."

"although we can't all take a break from work to study abroad, like me, I think we can try to explore life itself and add some experience to life, so that we can regain the motivation to create." this is the countermeasure advice given by BUDDY.

Similarly, in the face of the consumption of enthusiasm, mental content and emotions caused by continuous creation and output, Ding Bing also encourages comic book creators to leave themselves a buffer. "if the pain it brings to you is unbearable, it's best to go away for a while and wake up for a while. If you want to draw again, it's the same as in the beginning. Comics can not be the whole of life."

In addition to paying attention to their own desire for expression and creation, the problem related to survival is also inevitable for every creator.

"if you consider (comics) as a career, consider it as any ordinary profession-salary, whether to work overtime, social insurance and house fund." This is the suggestion of Ding Bing as an elder.

According to Zhu Gengfu, a famous cartoonist (masterpiece of Human Evolution), he was cheated by some small platforms and working as an assistant to other cartoonists when he first drew cartoons. as a result, he painted for more than half a year but did not get any income. Although this did not stop Zhu Gengfu's enthusiasm for comics, he still reminded the newcomers to carefully read the contract with the platform and discuss it with friends around them before making a decision, otherwise "it is easy to fall into the contract under the overlord clause." there is also the possibility that the platform may run away in arrears.

Take a look at the picture of Zhu Gengfu, the judge of the fifth session of the original organized contest.

At the same time, according to the editor-in-chief of Comic Electric shock King, "works that are fun to read but not worth paying for are difficult to put into business." This will also be an important problem that many comics creators have experienced.

"from amateur to professional (cartoonist), there will be a time when what people want to do is different from what they are good at, what they are good at and what they need to do. I have also suffered setbacks and troubles because of this difference and lack of talent," said Roal, a Korean comic book writer. In retrospect, "because my cartoons look shabby compared to those drawn by others, or because they are not commercially successful, they will be frustrated or lost."

But Roal also mentioned that "if only cartoons with good business results are valuable, we will miss out on all kinds of fun in this vast world."

"cartoonists also have to eat and live," says Chu Teng-fu. "but if you draw cartoons purely for the sake of making money, there are actually many industries that make more money than cartoons. Comics are never attracted by business opportunities, but dreams."

Probably in the all-inclusive fantasy world of comics, everyone who sticks to it will eventually be able to create their own comfortable, unique little world and let it work.

Unlock it! The infinite possibility of new comics.

However, even the master of comics is still being "made difficult", how can the newcomers of comics overcome the difficulties?

As a predecessor, the famous Korean cartoonist Chun Guiyong (masterpiece Love Bell) is full of expectations for new comics emerging every year. "newcomers have unlimited possibilities, and they can find their own style in the process of constant challenge, which is the best condition for writers."

Take a look at the picture of Qian Guiyong, the judge of the Fifth original organized Competition.

"Challenge, look at the newcomers and writers of the competition! come on, everybody!"

When asked about the advantages of new comic writers, the judges of the original organized contest talked about three key words-enthusiasm, novelty and freedom.

"newcomers are definitely more enthusiastic about comics than mature cartoonists, and they won't be restricted by many rules, so it's easier to create wild and personalized works," says Chu Geng-fu. Miyazawa Zhen, editorial director of Shuangye Society's different World Comics Department (the masterpiece King's Game), also believes that "they have new ideas that have never been seen before."

Mei Wei also said that many established cartoonists will give priority to the needs of readers and editors than their own preferences, while newcomers are very enthusiastic about what they want to paint, and the two ideas have their own advantages. "the new stage of 'what do you want to draw with comics' has precious and unique personal experience, and often draws wonderful works," Ding Bing also concluded.

Of course, in terms of skills and techniques, creative experience and other aspects, new creators are certainly not on a par with cartoonists.

Therefore, in Qian Guiyong's view, a very important ability for newcomers to advance their careers is continuous learning. "while new techniques, painting methods, styles, self-created theories, or theories learned from others, to solve the mysteries of comics, keep trying to digest it into your own things. Even if it cannot be achieved overnight, after years or decades of accumulation, writers are bound to grow up, and there is no other way but to learn.

However, what Ding Bing is more worried about than the technical level is that the biggest disadvantage for newcomers is that it is often difficult to persist in the transition to a career. "A lot of talented writers don't make it through this, probably the difference between persistence and explosive power."

BUDDY believes that new writers who complete their initial expressions with energy and inspiration tend to get confused and wonder, "what am I going to draw next", which leads to self-doubt; once they can't overcome this confusion, it's hard for newcomers to become professional writers. "I still don't know what I'm good at and don't know what I'm good at," Roal concluded.

Take a look at the congratulatory picture of Roal, the judge of the fifth session of the original organized contest.

According to my emperor's white tea introduction, at the same time, "new authors usually do not have eye-catching works and popularity." Zhu Gengfu also said, "the comics created by new authors have no income, and there are not as many readers reading their own cartoons as mature cartoonists, so it is easy to get depressed and give up."

Because of this, Ding Bing regards perseverance and good thinking as a watershed between professional cartoonists and enthusiasts: "it's hard to be called a professional writer with only one or two excellent outputs." whether it is to aim at business or self-transcendence, success and accumulation take time. Although perseverance may not be able to become a 'cartoonist', it is always good to stick to it and think of ways to solve problems. "

In Ken Ken's view, firm self-confidence-- confident enough in his own expression-- is the basis for newcomers to grow into cartoonists and create best-selling works; but Mei Wei's beauty is more about the flexibility of re-creators who are not stubborn and actively coordinate interesting things with the opinions of others.

"understand your own comic style, target the reader group, understand the reader's evaluation of your comic book, and then selectively improve it," adds Zhu Gengfu. "sometimes it's not a good thing for authors to stick to their own style. No matter how good the work is, you have to adapt to the changes in the market.

Focusing on the specific content ability, my emperor's white tea believes that the most important ability from a newcomer to a cartoonist lies in the capture of life and the handling of the multi-layered structure of the story. " Writing stories and drawing cartoons is not only to tell a story from the text level, but also to have the ability to see the essence through the story. In one sentence, jianghu is not fighting and killing, but worldly experience. The story of fighting and killing for the sake of fighting and killing is basically a story of failure. "

Ken Chi said that the closest observation to the creator is the creator himself, and it is worth observing his own emotion, fear, love and disgust for 24 hours, and try to systematize it every time he is moved. If possible, you should also speculate about the things behind your feelings and theorize them.

Take a look at the congratulatory picture of Wang Lijun, the judge of the fifth session of the original organized contest.

Miyazawa, on the other hand, pays more attention to the author's ability to set characters: "if you can create a character that is attractive and everyone wants to cheer for it, I think you can maintain the popularity of the work for a long time."

As a cartoonist who has experienced physical illness, Qian Guiyong hopes to remind newcomers that "it is really important to stay healthy, avoid staying up late and do less things that increase stress."

Let's go! Any time is a good time to draw cartoons.

In the past two years, the Chinese comic industry seems to have entered a new bottleneck. With the closure of Internet cartoon platform NetEase Comics, semi-dimensional, and evil spirits, as well as the closure of well-known comic magazines sa Comics and bosom friend Cartoon, it is very difficult not to worry newcomers who have just entered the industry. is it still a good time to make cartoons?

In the view of the cartoon predecessors of China, Japan and South Korea, each era has its own advantages and disadvantages, and any time is a good time to engage in comics, as long as the creator wants to express it.

BUDDY recalled that when he first entered the comic book industry more than a decade ago, the Internet comic platform had not yet sprung up and relied on only comic magazines, and the number of comic magazines in the country could be counted with one hand, giving very few opportunities for professional writers. In the current era of Internet comics, there are more opportunities, but there must also be new and different aspects of competition.

Take a look at the congratulatory picture of BUDDY, the judge of the fifth session of the original organized contest.

If you look at the time, Ding Bing feels that the situation is still much better than when she first started to draw cartoons, "at least for an ordinary career with income." For the hesitant newcomer, Ding Bing gave her own thinking: "if you want to draw cartoons, do you want to draw the outside world?" if you want to draw but do not paint because the outside world is not good, doesn't it add a layer of discomfort? "

Qian Guiyong, Miyazawa Zhen and Mei Wei draw the United States from a global perspective, that the present is a very good time for comic writers. With the help of the Internet, it is now easier to read different comics around the world, which is a huge possibility that has never existed before. "the media form of comics has attracted worldwide attention. Comic IP will certainly become a very eye-catching media from now on," Miyazawa said.

For the author, as long as you like comics, any time is a good time to draw cartoons. Zhu Gengfu believes, "it is a very fair thing to draw cartoons. As long as you pay for it, you will certainly get something in return. If you keep on drawing, you will become a very good cartoonist, and you will have no less money and fame, no matter what the era is."

Because of this, BUDDY advises that if you feel that you are full of creative desire, as a creator, you must cherish it. "Don't wait until your creative desire fades and forget what you want to express. At that time, no matter how good the opportunity is, you won't be able to create anything good."

"the key is that you should be clear about what you want and be willing to make corresponding efforts for it. When you think about it, let's go," my emperor's white tea said.

Take a look at the white tea picture of our emperor, the judge of the fifth session of the original organized contest.

"there has never been a time in history when there were so many opportunities for creators, and countless people were watching and waiting for our works," Qian Guiyong concluded. "the world is changing really fast, and we can take advantage of these changes into opportunities. I hope everyone can take this competition as an opportunity to become writers!"

Attached: the list of 50 shortlisted works in the Fifth Quick look at the original organized Competition.

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