User:CalebDunne/Manhwa

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Manhwa
Korean name
Hangul
만화
Hanja
漫畵
Revised RomanizationManhwa
McCune–ReischauerManhwa

Manhwa ( 만화 / 漫畵 , pronounced man-hwa ) are comics created in Korea or by creators in the Korean_Language. It is used abroad to describe the Korean comic. An important part of Korean culture, manhwa is very dynamic and is available in many forms: paper, internet and mobile phone. South Korea is now one of the first comics producers. A manhwa author is called a Manhwaga.

History of Manhwa[edit]

Origins[edit]

Like the Japanese manga and the Chinese manhua, manhwa is strongly influenced by classical Asian art and more particularly Chinese. The antique prints (Woodcut) of the 10th century, were very sophisticated and served to disseminate the Buddhist scriptures across the population. In the Korean engraving Bomyeongshibudo (보명십우도/普明十牛圖), a cow tells a Buddhist fable, the page is cut into boxes and the image above the text illustrates the text. The text is in sequential order to match the comic strip.

During the Joseon period, Korean art asserted itself:

  • Portraits painted are peaceful and not without humuor. This tradition can be found in illustrations on the covers of popular novels, posters, and later in the first comics.  
  • Literature flourishes. The narrative poems sung (Kasa 가사), popular novels (Japga 잡가), pansori (판소리) and shows, all give an important influence to the narration and do not hesitate to criticize society. These characteristics (the importance of narration and criticism of society) are all found in Manhwa.

Manhwa was developed under a double influence: the cultural tradition and oriental art founded within the lines.

From the beginning: Under Japanese occupation (1909-1945)[edit]

Cartoon by Lee Do-yeong, 1909.

October 30 1883, The first Korean newspaper : Hanseongsunbo 한성순보/漢城旬報. Others followed, all controlled by the government. In these first newspapers, there were no comic strips but many illustrations helping to understand current events. On June 2nd 1909, with the first publication of Daehanminbo 대한민보/大韓民 appeared to be the first manhwa. On the front page, under the title Saphwa (삽화), Koreans can discover the work of artist Lee Do-yeong (이도영). Lee Do-yeong's manhwa, engraved on wood, aimed to awaken the spirit of the Korean people through art that is both satirical (Japanese officials represented with monkey traits) and informative.

The publication of Lee Do-yeong's manhwa lasted only one year, in August 1910 the Japanese occupation began and the Daehanminbo was suppressed. The press as well as the country is controlled with an iron hand. But following the uprising on March 1st 1919, Japan relieves its grip on the press and in 1920 new titles are published, including manhwa. The cartoons still hold an important place and are very successful in their production thanks to the comic strips organized by newspapers.

From 1924, manhwa begins to adopt the Idiots (Meongteongguri heonmulkyeogi 멍텅구리 헛물켜기) of Noh Su-hyeong (노수형), published in The Chosun Ilbo (조선일보/朝鮮日報), Conventions of western comics and cartoons (boxes and especially speech bubbles). The first collections and special editions are published. The Manhwa asserts itself as the privileged medium to criticize the heart of Japanese oppression. At the same time, the Japanese government publishes many propaganda cartoons, to support rice production, or to encourage the youth to join the military.

Accompanying Difficult Times (1945-1980)[edit]

With the Liberation, the country is under American and Soviet administration. The press regain part of their liberties and the satirical manhwa make a small reappearance. The first popular character, Professor Kojubu of Kim Yong-hwan (김영환), appears in the Seoul Times. New magazines are being created and magazines for adults are being published. September 15th 1948, Kim Yong-hwan founded the Manhwa Haengjin (Manhwa in March), which is the first magazine entirely devoted to comics. However, it stopped publishing as soon as the second issue was released, as it's victim of a still strong censorship. However, the following year, March 13th 1949, Manhwas news begins its weekly publication which lasted one year with great success. This journal publishes the best artists of the time: Kim Seong-hwan (김성환), Kim Yong-hwan (김영환), Shing Dong-heon (신동헌), Kim In-hwan (김의환) or Lee Yong-chun (이영천 ). As in Japan at the same time, the comic strip emancipated itself from the newspapers and became an autonomous popular genre.

With the Korean War, the manhwa regained a central place in propaganda on both sides of the conflict. Draftsmen are mobilized and produce many leaflets, particularly in the south. The soldier Todori of Kim Yong-hwan, who exalts the courage of the soldiers, is a huge hit. The censorship starts again and the overly critical cartoonists are severely condemned. However, to accompany a society hard-hit by war and misery, especially children, the manhwa publishes adventurous and fanciful stories like Doctor Hendel of Choi Sang-gwon (최상권). These stories are published in magazines at a low price, on a very poor quality paper, presently there are very few copies left. These magazines, called the Takji Manhwa (만화 만화) and published in Busan, allow young authors to launch themselves. As the Takji Manhwa comic book begins to adapt to the personalities of readers, they become more and more numerous and diverse. But it is with these that the manhwa takes its contemporary form, with pictures and bubbles.

The end of the Korean War marked the beginning of a very significant time for the Manhwa. It continued until the mid-1960s and was accompanied by the opening and the very rapid success of the first libraries, which let them rent and read comics: Manhwabangs 만화방/漫畵房. The market is beginning to structure, specialized publishing houses are being created as Manhwa Segyesa 만화세계사 and many independent publishers are embarking on an adventure and new magazines are entering the market as the very popular Arirang . Magazines started to publish 200 page albums with full stories, Consisting of long dramatic narratives, e.g. Park Ki-jeong (박기정) or Kim Jong-rae (김정래). This experience of a comic book will be short-lived, the success of the manhwabangs that favor the encounter between manhwas and the public, quickly puts an end to it in favor of numerous magazines. This enthusiasm for manhwa allows authors to live more comfortably and publishing houses to launch and reveal new designers and new forms of manhwa.

The Manhwa of the late 1950s and early 1960s are very diverse. The dominant genre is the myeongrang manhwa (humorous manhwa with 3 or 4 pages), the Korean comic narrative develops and flourishes and with it a new generation of manhwaga (만화가/漫畵家). Shin Dong-u (신동우), Kim San-ho (김산호) and Park Ki-dang (박기당) create science fiction manhwa and fantasy manhwa while Park Ki-jeong (박기정) develops historical Manhwa. A time of Japanese occupation in Poktana (폭탄아/爆彈兒) (The Bomb) A young Korean who fights against the Japanese in Manchuria. The sunjeong manhwa ((순정만화/純情漫畵) became a full-fledged genre with Kwon Yeong-seop (권영섭), Choi Sang-rok (최상록), Jo Won-ki (조원기) or Jang Eun-ju (장은주). But this period of euphoria is short lived. After the revolution of May 16th 1961, The manhwa declined under the onslaught of censorship that undermines the creativity of the authors. The distributor and publisher Habdong Munwhasa (합동문화사) took control of the distribution of the manhwas and bought out the publishers of manhwa. In 1966 he established a monopoly on the publishing and distribution of manhwas. Although the Korean comic book finds itself imprisoned by both state censorship and the Habdong Munwhasa monopoly, it continues through comic adventures for children and adventurous adult stories to comfort Koreans. Contemporary subjects are neglected in favor of the long historical graphic novels, Emblematic of the manhwa in the 1970s which allowed discreet criticism of the power in place. Koreans recognize themselves in the struggles against feudalism at the end of the Joseon Period and the misadventures of their ancestors. These manhawas allow Koreans, while bringing some entertainment and comfort in a difficult time, to reclaim their history after the Japanese censorship, occupation and long years of war.

The first long historical series was published by the daily Ilgan Sports in 1972: Im Keog-jeong (임꺽정) by Go U-yeong (고우영) who is one of the leading authors of this time with his other series Suhoji (수호지 /水滸志) Samgukji (삼국지 /三國志) adaptation of the Romance of the Three Kingdoms, which was his greatest success, Chohanji (초한지 /楚漢志), Seoyuki (서유기/西遊記) or Garujikijeon (가루지기 전). These long historical narratives were not afraid of humour and dramatic situations. It is also in the Ilgan Sports that published in 1974, The Series Goindol (고인돌) by Park Su-dong (박수동), this series appeared for 18 years. With a very original feature supported by a direct and humorous tone, Park Su-dong, deals with the male/female relationship while discreetly introducing a then forbidden eroticism. The weekly Sunday Seoul dominates the market of manhwa in the 1970s, thanks to the historical dramas of Bang Hak-ki (방학기) which differ from the rest of the production by the quality of their scenarios and the naturalism of the dialog. But these first important successes of the manhwas for adults do not overshadow the manhwa for the youth whose reviews are flourishing. These cartoons are optimistic and joyful. Among the most popular authors are Kil Chang-deok (길창덕), Yun Seung-hun (윤승훈), Park Su-dong (박수동) and Shin Mun-su (신문수).

Renaissance and Dynamics of Manhwa in the 1980s[edit]

In 1981, Kim Su-jeong (김수정) was inspired by manhwa for children of the 1970s to make Dooly the little dinosaur (공룡 둘리 둘리) which will be the first Manhwa to be adapted in cartoons and to be the start of many derivatives. He is also the first unhappy Manhwa hero. This spectacular success marks the beginning of the revival of Manhwa.

Lee Hyeon-se (이현세) changed radically in 1982 the time of dissemination of manhwas publishing in several large volumes. Gongpoui Oeingudan (공포의 외인구단) ( A formidable baseball team ), A story of a team of losers who by minimal Training beats the Japanese teams. This story immediately become a major success and replays in manhwabangs somewhat neglected in the 1970s . Many authors in turn will publish in this form, similar to the image of Heo Yeong-man (허영만) or Park Ki-jeong (박기정). This style is favored by the manhwabangs who want to offer their readers this type of manhwas. However, A group work together to publish and rent these stories exclusively. Authors work exclusively for the manhwabang and make themselves known before working for magazines. Networks of manhwabangs are beginning to take shape, carried by these new stories that want to reproduce the success of Gongpoeu Oeingudan who becomes the image of the genre: a poor, energetic hero is in love with a beautiful and rich girl. Also supported by manhwabangs, manhwas magazines thrive. The stories are published in episodes before going out in volumes. These are weekly or bi-weekly magazines. The first to have met with great success is Bomulseom (보물섬) (Treasure Island) created in 1982 which publishes Lee Hyeon-se (이현세) and Hwang Mi-na (황미나). Their following numerous magazines which engaged in a fierce competition that had the effect of dividing the market according to generational, sexual or personalities. Female manhwas, which had been banned in the 1970s, returned strongly in the mid-1980s with authors such as Kim Hye-rin (김혜린), Kang Gyeong-ok (강경옥) and Hwang Mi-na (황미나). In 1990, the magazine Renaissance which exclusively deals with sunjeong manhwa is created. There are also magazines specializing in science fiction and heroic fantasy.

Starting from June 10th 1987, Censorship subsides, and Lee Hee-jae's (이희재) first contemporary and realistic narratives emerge. Both the press drawings and those of Park Jae-dong (박재동) which had initiated the beginning of the Manhwa regaining their satirical tone. Many young artists, mainly women, choose Manhwa as a means of expression, supported financially by the dynamics of the market and loan rooms.

The manhwa today[edit]

Since the late 1980s, mangas have been licensed in the Korean market and have been a great success. Faced with a qualitative decline of manhwas, the manga gradually imposed itself. But, very quickly the market and the authors knew how to react. Journals such as IQ Jump or Young Champ were created on the idea of Japanese magazines and the authors gave free rein to their creative desires. Thus Yang Young-soon (양영순) dealt with male sexual fantasies in Nudl Nude (1995) which was adapted into animated films. Daily violence is approached by Lee Yoo-jeong (이유정). Women have become more interested in the daily life, Feelings and human consciousness. This research in all types of personal and innovative style has fostered the emergence of many publishing houses, magazines and independent collective relayed by manhwabangs. Starting with the crisis in the years 1997-1998, these have further strengthened their market power and the share of mangas is decreasing.

The very dynamic Korean society follows modes with extreme rapidity, so manhwa produces many genres, sometimes influenced by mangas, and adapts to new modes of reading. Young authors seek radical innovations both in the style of the drawings and in the chosen mediums. The Internet, which is the largest medium in the world, promotes the dissemination of manhwas via the Internet. The sites of the manhwabangs propose to buy volumes of manhwas via internet. A new market is developing: the manhwas of four boxes, sound, which one downloads and reads on its screen of mobile phones or smart devices. All mobile phone companies offer manhwas to their customers.

Today, the state seeks to disseminate and make known the manhwas, still unknown and too often assimilated to manga, to the rest of the world. These are beginning to be published in Europe, the United States and Japan.

Economic situation of the manhwa in Korea[edit]

Number of titles and volumes published annually
Year Titles Share (%) Artists Share (%)
1990 4 130 9 6 833 681 2,7
1991 4 142 15,4 5 820 160 4,1
1992 4 694 15,9 5 413 195 3,8
1993 4 644 15 7 206 497 4,9
1994 4 930 14,2 10 827 510 6,6
1995 4 699 14,6 13 359 340 8,4
1996 5 592 17,3 18 021 725 10,2
1997 6 297 18,7 23 605 460 11,1
1998 8 122 22 33 025 623 17,3
1999 9 134 26 36 665 233 32,5
2000 9 329 26,6 44 537 041 39,4
2001 9 177 26,5 42 151 591 35,9

In 2001, production generated 156 million won, half of which was sold through bookstores or supermarkets, the other half through sales to the manhwabangs. The market for manhwabangs in 2001 represents a market of 514 million won. The market seems to have stabilized after the crisis of the years 1997-1998. It is consolidated.

In this market there are more than 500 publishing houses of which 400 publish less than 20 titles per year and ten more than 100 titles. Among the most important publishing houses are:

Main authors[edit]

The Manhwaga Hyung Min-woo, 2005.
  • Lee Do-yeong 이도영 (1884-1933 or 1885-1934)
  • Ahn Seok-ju 안석주 (1901-1950)
  • Kim Yong-hwan 김영환 (1912-1998)
  • Park Ki-dang 박기당 (1922-1979)
  • Im Chang 임창 (1923-1982)
  • Kim Jong-rae 김종래 (1927-2001)
  • Kil Chang-deok 길창덕 (1929-2010)
  • Kim Seong-hwan 김성환 (born 1932)
  • Park Ki-jeong 박기정 (born 1934)
  • Kim Won-bin 김원빈 (born 1935)
  • Kim San-ho 김삼호 (born 1939)
  • Go U-yeong 고우영 (1939-2005)
  • Bang Yeong-jin 방영진 (1939-1999)
  • Park Su-dong 박수동 (born 1941)
  • Lee Jeong-mun 이정문 (born 1941)
  • Yun Seung-un 윤승언 (born 1943)
  • Lee Du-ho 이두호 (born 1943)
  • Kang Cheol-su 강철수 (born 1944)
  • Heo Yeong-man 허영만 (born 1947)
  • Kim Hyeong-bae 김형배 (born 1947)
  • Kim Su-jeong 김수정 (born 1950)
  • Kim Dong-hwa 김동화 (born 1950)
  • Lee Hee-jae 이희재 (born 1952)
  • Park Jae-dong 박재동 (born 1952)
  • Lee Hyeon-se 이현세 (born 1954)
  • Oh Se-yeong 오세영 (born 1955)
  • Kim Jin 김진 (born 1960)
  • Hwang Mi-na 황미나 (born 1961)
  • Kim Hye-rin 김혜린 (born 1962)
  • Shin Il-suk 신일석 (born 1962)
  • Kang Gyeong-ok 강경옥 (born 1965)
  • Kim Youn Kyung 김연경
  • Son Hee Joon 손희준
  • Park Kun-woong 박건웅 (born 1972)
  • Ancco (born 1983)

Types of manhwa[edit]

  • Manmun manhwa (만문만화/滿文漫畵), manhwa in one box.
  • Myeongrang manhwa (명랑만화/明朗漫畵), manhwa humourous to adults.
  • Sonyung manhwa,for adolescent equivalent of the ongoing Japanese manga[verification needed].
  • Sunjeong manhwa (순정만화/純情漫畵), intended for female reading, equivalent to Japanese shojo.
  • Tchungnyun, for young adults (15 to 30 years), equivalent to seinen manga[verification needed].
  • Takji manhwa (딱지만화), adventure manhwa that takes place in the West. Their golden age is in the 1950s.

The manhwa in France[edit]

Thanks to the recent success of the Japanese manga in France, the manhwa begins to be carefully published in France. Korea was the guest of honor of the 30th Angoulême International Comics Festival in 2003[6]. However, the manwha still has trouble finding its audience. The SEEBD editions (Collections Saphira and Tokebi) went bankrupt in 2008[7]. Part of their title was taken by Samji [8] It is now out of business.[9]

Editors of manhwa in French[edit]

Manhwa published in France (by editor and French title)[edit]

  • Casterman, "Hanguk" Collection:
    Main article: Hanguk
  • Tokebi
    Main article: Editions Tokebi
  • Saphira
    Main article: Editions Saphira
  • Generation Comics :
  • Asuka :
    • Crazy Love Story
    • Mémoires du masque
    • One
    • Redrum 327

Kami :

  • Kwari :
    • 100% Perfect Girl
    • Core Scramble
    • Dark Air
    • Kyle's Final Fantasy
    • Phong, The Mobile Phone
    • The Boss
    • The Sherlock Holmes Story

Magazine about the manhwa[edit]

Tokebi Magazine (Discontinued)

Bibliography[edit]

  • The dynamics of Korean comics, exhibition catalog, Korean Culture & Contents Agency (KOCCA) and Angoulême International Cartoon Festival.

Notes and Referencess[edit]

  1. ^ Site internet de Daewon C&I
  2. ^ Site internet de Séoulmunhwasa
  3. ^ Site internet de Sigongsa
  4. ^ Site internet des Éditions Haksan
  5. ^ Site internet de Chorokbarmagics
  6. ^ http://www.bdangouleme.com/fibd-46-une-histoire-du-festival-international-de-la-bande-dessinee. {{cite web}}: Missing or empty |title= (help)
  7. ^ http://www.societe.com/societe/soc-d-edition-et-d-exploitation-de-bd-431717545.html. {{cite web}}: Missing or empty |title= (help)
  8. ^ http://www.manga-news.com/index.php/editeur/SEEBD. {{cite web}}: Missing or empty |title= (help)
  9. ^ http://www.manga-news.com/index.php/actus/2012/01/31/Clap-de-fin-pour-Samji-et-Xiao-Pan. {{cite web}}: Missing or empty |title= (help)

See Also[edit]

Related Articles[edit]

External Links[edit]

About the manhwa[edit]

Festivals in Korea[edit]

Associates of manhwa[edit]

Study and Information Centers[edit]

  • (ko+en) Korean Society of Cartoon & Animation Studies
  • (ko+en) Seoul animation center
  • (ko+en) Puchon Cartoon Information Center
  • iconAnime and manga portal
  • mapKorea portal

[[Category:Korean culture]] [[Category:Manhwa]]

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