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The month changes and the day changes, and they are often violent online, why do they still insist on drawing cartoons?

Release Time:2021-08-29 Topic:The male owner can see the stock trend Reading:312 Navigation:Stock Liao information > cartoon > comics > The month changes and the day changes, and they are often violent online, why do they still insist on drawing cartoons? phone-reading

Original title: The month changes and the day changes, and they are often violent online. Why do they still insist on drawing cartoons? Source: Microscopic Stories

Author of this article: kooogle, editor: Jiang Jiang, original title: "The Pain of the Creator of National Comics: The Months Change and the Days Change, Often Internet violence, why do I still insist on drawing comics? ", head picture: TV stills of "Nanyanzhai Transcript"

From Attacking Giant, Lulu Xiu, to Luffy, Uzumaki Naruto, Sakuragi Flower Road ……

Age may increase over time, but there will always be a passionate teenager to accompany that generation of young people to spend their student time. Unfortunately, most of these characters do not come from China.

For a long time, Chinese comics have been absent.

The last highlight of Chinese animation was still in the 1860s. The puppet animation "Magic Pen" and the paper-cut animation "Pig Bajie Eating Watermelon" (1958) , The era of ink and wash animation "Little Tadpoles Looking for Mother" (1960). At that time, these works that integrated folk culture and different animation presentation forms became a unique Chinese school.

"The Rise of Guoman" and "The Renaissance of Guoman" are topics that have been repeatedly mentioned, but when can they really be revived and risen? Still no one can give the answer.

Chinese animation creators have never given up their efforts. In 2009, Yaoqi transformed into an Internet comics platform. Two years later, "One Hundred Thousand Cold Jokes" became popular on the Internet, making the capital market aware of the vitality of comic IP, triggering Tencent, NetEase, Kuaikan Comics and Bilibili comics to enter the game. .

For a time, the creative passion of the creators of Guoman was reignited. "Under One Person", "Fox Fairy Little Matchmaker", "Once Upon a Time There was a Mountain of Spirit Sword" and other animations completed the sea, "Quickly Take My Brother away", "Qin Shi Mingyue", "Nanyanzhai Transcript" and other comics were Adapted into a live-action movie and TV series.

This issue of microscopy story tells a group of national comics creators who have the dream of "the rise of national comics". Among them:

Some people started to learn to draw at the age of 4, and determined to draw comics for a lifetime, but they couldn’t find the most suitable form of comics in the market and the high frequency of updates caused depression;

Some are the creators of "Nanyanzhai Transcript", the work has been adapted into a TV series, but he still feels that the content he painted is not what he really wants;

Some people are more obsessed with selling their own worldviews than comics. Even if the data feedback is not good, they still insist on being in the market.

The following is the true story about them.

Reading comics and creating comics are completely different things

"Started to learn painting at the age of 4 , Living in comics to this day"

15 years of debut as the lead writer of Shell Xiaosha’s female comics

My motivation for entering the comics business may be very "comic" in itself-when I was in junior high school, my first love boyfriend and I were both comic enthusiasts, naively hit it off, and wanted to become outstanding cartoonists together.

Later he went abroad and left, and we have no contact since then, and I don’t know if he continues to paint; I stayed in China and really became a professional cartoonist.

Like many people, my manga enlightenment started with Japanese works.

At that time, it was not like now, a mobile phone went around the world, there were short videos, mobile games, so many things that attracted young people. The "small books" of Japanese comics circulated between them are "artifacts" for passing the free time.

The plot progress and the fate of the protagonist in the comics are important topics of communication and emotional sustenance, and even our chat atmosphere can be led by the plot.

But unlike many people, I try to draw comics by myself.

Since I was a child, I have had the "addiction" of painting, and every wall is my creative space. My parents saw that I like painting so much and they sent me to study art systematically since I was 4 years old.

This is also one of the things I think I’m very lucky, because it means that before I met the comics, I got the support of my family and started to contribute to this "lifelong "Career" is ready.

After I really started to be a professional cartoonist, I realized that the business of cartoons is by no means as simple as painting, nor is it purely relying on technology and cannot be so idle. Ting walked around, but started with the carrier of "painting skills" to tell a rigorous and brilliant story.

If the story is good, you have to have better drawing skills, such as more delicate brushwork and smoother shots, to match your story; on the contrary, if The great improvement in painting skills means that your ability to tell stories has also followed up.

Picture: Use proper drawing skills to control the plot trend

For a long time, On the workbench of "one acre and three quarters of land", I basically indulged in the state of sleepless sleep and food.

I draw a character and tell a story. Basically, I want to throw myself into the plot. All the joys, sorrows, ups and downs, I have to experience it myself , In order to produce good works.

I like to learn the passionate action shooting technique of Japanese manga masters. I put myself in that scene and break down various actions and scene details into Various small grids, and then use a very large opening in the painter to achieve a visual effect that shocks the reader.

Picture: The action scene in "The Legend of Hundred Profound Story" by Shell Xiaosha

Every time I draw one, I feel that I have briefly experienced an extra life, which may be ancient, Republican, or illusory.

I often finish drawing a story, and when I look up, I find that I’ve burst into tears with excitement—I’m just a person living in comics, and I also enjoy this state.

In recent years, the animation industry has become more and more lively, and work has become more and more compact.

This is of course a good thing. There are more and more readers coming in, more and more brands come to talk about business cooperation, and the income of comic authors is gradually increasing. increased. But for me, there are also many difficulties.

When we first entered the industry, we basically published it in the magazine and updated it once a month. But now the main distribution carrier is the Internet, basically weekly updates (a variety of commercial illustration work will be interspersed from time to time), and the feedback from readers and platforms will be very immediate.

Picture: Comic magazines once popular in the market

Two of them are involved Question:

1. The past immersive creative method is difficult to maintain. For a while to catch upI can’t see the progress, I can’t see the drafts I handed over;

2. The direction of creation is no longer entirely based on what the author likes. Your readers, your publishing platform, what kind of content you need, you have to draw what kind of content.

This kind of change made me very uncomfortable for a while, so I couldn’t paint satisfactory works, and even experienced depression symptoms for this, and my body began to show various forms." "Sub-health" phenomenon-even, I once felt that in this environment, my painting skills could no longer be improved.

This is what makes me sad.

Picture: The manuscript used by the author to record inspiration

Fortunately, in real work, I have a good partner, they will help solve all external affairs, so that I can continue to immerse myself in the creation of my favorite comics.

And I am no longer the little girl who just entered the industry. I have to learn to face reality and take responsibility, such as buying a house and paying off my mortgage. Since I can't go back to my favorite creative method in the past, then learn to improve my painting skills in the new rhythm and work.

Of course, if there is a chance in the future, I still hope that I can slow down and return to the immersive mode of the past to create more touching works , Such as the passionate action subject I want to paint most.

I think I will paint for a lifetime about comics.

What you want to draw and what readers want to see are two different things

"The creation is Entrapped by big data, drawing a comic will have to bear the risk of internet violence"

Zuo Xiaoling, a female script writer in the country of comics, debuted for 10 years

I decided to engage in this business because of a Japanese manga-"Horror Pet Shop".

Although I also liked comics before, I used them more as a pastime, such as "Crayon Shin-chan" and "Chibi Maruko", which are easy to understand. But "Horror Pet Shop" is very different. Under the exquisite and seductive painting style, it explores the heavy and complicated society and human nature.

The feeling of filling my brain and hitting my soul has a deep impact on me.

I know that there are still a lot of people who have a prejudice against comics, thinking that this is a business that is geared toward low- and young-fashioned groups, or even not doing business.

But I have always firmly believed that comics can also become a carrier of insight and inspiration. Works like "Horror Pet Shop" are the benchmark for my efforts.

Picture: Japanese manga "Horror Pet Shop"

When I first started, I just A manga writer later met a partner who was more proficient in this, and gradually transformed into a script writer for Guoman, similar to the screenwriter of the partner director in filming.

Comic authors + script authors, and even more detailed division of labor, whether in Japan or China, is a very common mode of operation. But the manga writers on the front desk who are more familiar and recognized by the outside world feel that the script is not insignificant.

I remember once our work won an award. The organizer only arranged Shell to come on stage to receive the award. If it weren’t for Shell’s insistence that I was also one of the creators and refused to accept the award , Maybe the other party thought I was just an accessory at the time.

This is still on the premise that I am more fortunate and my work has received a lot of recognition. There are more conscientious script writers in the country, and they may not even mention their names. pass.

In fact, in terms of creative dimensions, scripting is by no means a job with such a low threshold, after all, it’s excellentThe painting skills and the wonderful plot are in a string.

Picture: Zuo Xiaoling and Ke Xiaosha co-authored the Republic of China background comic "Nanyanzhai Transcript"

To put it plainly, the work of scripting is that you continue to act with yourself in your heart and go through the things you want to create first. The core of this interpretation is "choice."

For example, when the comic progresses to a certain point, the script writer wants to substitute in your character and imagine the choices he/she may face, different choices There will be different developments, and then choose a route you think is the best to go on, and then you will face new choices at key points...again.

For a while, I thought I did follow my heart and gave the characters in the work what they thought was the "best choice".

For example, the "Nanyanzhai Transcript", which I collaborated with Shell a few years ago, is a work that we like very much from the heart, and the copyright is also seen by film and television production companies. In, it became a TV series of the same name, starring Liu Yifei and Jing Boran.

Picture: Stills of the two protagonists of "Nanyanzhai Transcript"

but recent With the intervention of more and more big capital in 1988, the entire comic creation ecology has actually undergone drastic changes.

The most obvious point is the creative cycle. From monthly to weekly, and even daily updates are not rare. The huge increase in creators’ workload is one aspect, and the decline in content quality is also unavoidable.

For example, in the past, in order to draw a page of the story of the Republic of China, we might spend several weeks, reading a lot of documents and materials, and even going to the original site for on-site investigation. But with the current update frequency, it is basically impossible to do this.

This is a reality that must be faced. Now the era of smart phones is no longer compared to the era of magazines, and there is still a gap in print production.

Now if you haven’t updated it for a week, the platform data will immediately show that your readers have lost a lot, and some people even made bad words in the comments.

How dare you slow down?

Picture: The author of Guoman was hand-painted at the signing ceremony

There is also data for The proportion of creative influence is obviously enlarged compared to before. The data can reflect the preferences of mainstream readers, not the authors. The platform will also use this as a basis to give suggestions for follow-up story development.

For many comic creators, this is a painful transformation process.

I always think that creation is a process of examining one's emotions and values, which will moisten things into your work silently.

But when the entire industry is more data-oriented and market-oriented, you must change your mind to someone who has nothing to do with yourself before you can continue Advance the creative process.

The "Cheng Ye Xiaohe" we are serializing is a campus comic with an e-sports background. Because I am an e-sports enthusiast, one of the starting points of creation is to express my passion for e-sports.

Picture: E-sports themed comic "Cheng Ye Xiaohe"

But unfortunately After serializing for a period of time, the data obviously does not think that this is the direction that readers agree with.

Following various trade-offs, I had to make compromises, abandon the realistic expression of e-sports that I prepared for a long time, and seek a more stable and normalized content trend.

Some real e-sports fans will criticize us severely in the Zhihu and other communities after reading the comics, "This can also be called e-sports", "You simply I don't understand e-sports", I can only smile bitterly.

The current "Cheng Ye Xiao He" may be a work that has received more readers’ love. It has also gained a lot of progress in the development of commercial IP (brand marketing illustrations, joint products, etc.).

This makes us very grateful and gratified, but it is really not the comic I originally envisioned.

Picture: "Cheng Ye Xiaohe" co-branded product with McDonald's

now From time to time, I still miss the state when I first entered the industry. Although the conditions are not comparable to those of the present, the feeling of being very simple and letting my ideas slowly appear in the work is still very beautiful.

I always believe that, from the perspective of technical creation, there is certainly a gap between domestic manga and Japanese manga, but it is not as big as expected.

The real gap may still lie in the industry ecology. Although it has improved compared to previous years, the overall Chinese animation industry is still in a relatively impetuous stage. .

But I still really feel that there is no more interesting industry than comics. I hope it will get better and better.

Compared to painting, it’s more interesting to create a world view

"Forced CP', I sometimes feel that I am a worker on the assembly line"

Chenxi male science fiction cartoonist debuted for 11 years

In my understanding, comics have nothing to do with drawing, but an art of telling stories in the form of pictures.

In a static storyboard, as a comic book author, you have to think about how to tell the story at this moment, and how to connect many pictures Become one, let them form a complete world.

Personally, I like to watch comics with rigorous logic, unique insights, and many deep realistic metaphors, such as "One Piece" and "Legend of Sword Wind" ".

They have all constructed a huge overhead world view, discussing the deep-seated issues of race, religion, country, etc., not only to make the readers look cool, but to let the readers Willing to sink my whole body and mind into it.

Picture: Japanese manga "Legend of Sword Wind" with the European Middle Ages as the background

This is also the fundamental motivation for me to choose to become a professional cartoonist-it is more interesting for me to create a complete worldview system relative to painting itself.

But when I entered the industry, I encountered a challenge. A problem that I didn’t realize before but could not avoid at all made me very entangled: I want to paint in the end , Or what the reader wants to see?

Since I have chosen to make a living from comics, it is natural to consider the preferences of "family parents". But the problem is that the mainstream readers of the magazines issued by Guoman on the market at that time were basically girls, and my mind was full of hardcore science fiction ideas.

For example, the cartoon I wanted to create at the beginning. The story takes place in a future world where technology is highly developed but the transmission of information is seriously lagging behind. The protagonist makes a living by transporting information. The main content is the various anecdotes he encountered during this period and his thoughts on society.

It is serialized in a comic magazine for girls in elementary and middle schools, so few readers can get what I want to express. At that time, many people talked to me about this issue. Taking into account the preferences of the mainstream group of Guoman, such themes were not very promising from the beginning.

Picture: The sci-fi-themed comic "Shate of Wind" created by Chen Xi

but I can’t I switched to drawing girly-themed comics, otherwise I would completely lose my original intention to enter this business.

After all entanglements, I had to start to explore the balance point and figure out a way to "live" my work: how to build my worldview while still gaining teenage readers Our favor?

There is no way, such as "CP". Combining the characters in the comics into pairs and interacting from time to time can make readers read more pleasantly.

The addition of these "condiments" does not affect the value "main course" you want to express, and it can be recognized by readers, and sometimes even portray you The characters have extra help. After clarifying these things, my serialization can be considered alive.

Now that I have been in the industry for so many years, I feel that I can handle this delicate balance.

Picture: The interactive plot of the two male protagonists in "The Book of Peach and the Last Days"

but This does not mean that I no longer struggle.

Comic is not a job that makes perfect by practice, it is a creation that pays attention to insight. It's like walking a tightrope continuously, and there may be problems at any time.

Now I have this feeling every time I draw, because readers’ feedback can be seen on the phone right away.

A little carelessness is an overwhelming bad review.

So now I am still living in this anxiety, or even worse. Maybe as long as I am still in the comics business, I can’t completely solve this problem.

At present, I am serializing the comic "The Book of Peach and the End of the World". The worldview is built on the collapsed future world, and the reflection is the real race friction.

Picture: Promotion of "The Book of Peach and the Last Days"

This is still a movie Hard-core sci-fi works still belong to a niche in today's market where girls are the mainstream. The reading data on the platform is relatively ordinary compared to other popular works.

Even though I am familiar with the setting similar to "CP", it does not change the unpopular reality of the subject matter itself.

Fortunately, today’s publishing platform is more tolerant, even if it’s unpopular works, it’s willing to support it. It gives a high degree of freedom and makes the stories I want to tell exist. space.

Besides the survival problem, what gives me the most pressure is time.

The industry rule of general weekly change means that you have to work at full capacity every day to meet the deadline: one or two days to conceive, and the rest is If you keep painting, you will not "open the skylight" and miss the release.

Sometimes I obviously feel that the drawing is not smooth and the plot is not reasonable, but the deadline is too tight, I can only bite the bullet and send it out.

This leads to the second pressure point, reader feedback.

I’m still very nervous about this. As long as there is a criticism in every comment, it will basically be praised and pushed forward, which is frighteningly hanging on Below the work. Of course, if it is a constructive criticism, I will deal with it as appropriate in the next creation.

Picture: The daily workbench of the writers of Guoman Comics

If possible, I will update I am willing to go back to the creative rhythm of the past month, and to think more calmly, to grasp the world in my mind.

But this may be just my wishful thinking.

I never thought about changing the status quo of the industry in the past, and I rarely considered these macro issues. I just wanted to focus on expressing the stories I wanted to tell, and through Stories to condense some thinking value and give selfI have an explanation, and I hope to resonate with readers.

I even think that even if one day, with the advancement of science and technology, the carrier of comics does not exist, or there is no way to feed myself, then it’s not a big problem. After leaving, I can continue to engage in other creative-related work.

After all, I just want to tell a good story, which is important.

Author of this article: kooogle, editor: Jiang Jiang

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