By John A. Lent
Grand in its scope, Asian Comics dispels the parable that, outdoors of Japan, the continent is almost without comedian strips and comedian books. hoping on his fifty years of Asian mass verbal exchange and comedian artwork examine, in which he traveled to Asia at the very least seventy-eight occasions and visited many studios and places of work, John A. Lent exhibits that just about each state had a golden age of cartooning and has skilled a up to date rejuvenation of the artwork form.
As purely jap comics output has acquired shut and via now voluminous scrutiny, Asian Comics tells the tale of the most important comics creators open air of Japan. Lent covers the international locations and areas of Bangladesh, Cambodia, China, Hong Kong, India, Indonesia, Korea, Malaysia, Myanmar, Nepal, the Philippines, Singapore, Sri Lanka, Taiwan, Thailand, and Vietnam.
Organized by means of areas of East, Southeast, and South Asia, Asian Comics presents 178 black-and-white illustrations and exact details on comics of 16 nations and regions―their histories, key creators, characters, modern prestige, difficulties, traits, and concerns. One bankruptcy harkens again to predecessors of comics in Asia, describing scrolls, work, books, and puppetry with funny tinges, basically in China, India, Indonesia, and Japan.
The first review of Asian comedian books and magazines (both mainstream and alternative), picture novels, newspaper comedian strips and gag panels, plus cartoon/humor magazines, Asian Comics brims with evidence, attention-grabbing anecdotes, and interview rates from many pioneering masters, in addition to more youthful artists.
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One Thousand Years of Manga. Paris: Flammarion. Kunzle, David. 1973. The Early Comic Strip: Narrative Strips and Picture Stories in the European Broadsheet from c. 1450 to 1825. Berkeley: University of California Press. Lane, Richard. 1982. Images from the Floating World: The Japanese Print. New York: Dorset Press. Lent, John A. 1989. ” In Handbook of Japanese Popular Culture, edited by Richard Gid Powers and Hidetoshi Kato, 221–42. Westport, CT: Greenwood Press. ———. 1993. ” Asian Culture, Winter: 11–23.
Every detail and style was carefully done; versions were drawn over and over. Wang Wei related how his lianhuanhua (and the industry generally) dwindled in circulation by the mid1980s. 8 million copies; a second, Xue Zhan Shahe, in 1984, 850,000 copies; and a third in 1985, 340,000 copies. He blamed the entry of Japanese manga into China in 1984 as the main reason for the lessened interest in lianhuanhua. But others blamed the 1986–1987 crash of the lianhuanhua market on the widespread availability of television sets and videocassette players; the diminished quality of the books, as publishers and artists quickened their production pace to meet reader demands (Cao 2002; Yu 2000; Lin 1997; Hong 1995); and the transfer of responsibility for distribution from the government, with its vast resources, to the publishing houses themselves.
Artists were asked to decorate storybooks with illustrations at the top of the pages. According to one author, the Song Dynasty book paintings had cartoon characteristics (Shi 1989, 12). During the Yuan, Ming, and Qing Dynasties, popular romantic novels carried portraits of the main characters on the front and sometimes at the beginning of each chapter (Hwang 1978, 52). Some novels were richly illustrated, with the upper half of each page featuring a picture or with an illustrated page following every page of text (see also Chiang 1959).