In recent years, there has been a renewed interest in comic books, often referred to as "little man books." These publications, which once accompanied many generations through their childhoods, have made a comeback in cities like Shanghai, Tianjin, and Nanjing. Once considered common reading material, they are now valued as collectibles and have seen significant price increases. Publishing houses such as the People's Fine Arts Publishing House and the Shanghai People's Fine Arts Publishing House have reprinted classic comics, some of which have gained widespread popularity. However, this revival has also sparked debates about the current state of the comic book industry, with some questioning whether this is just a temporary trend before another decline.
Comic books first emerged in Shanghai during the 1920s and 1930s. Early on, cultural figures like Lu Xun, Qu Qiubai, and Mao Dun supported and promoted them, seeing them as both an art form and a medium that could entertain the masses. Experts believe that these books can teach history, literature, and folk knowledge, having a positive influence on children’s development.
One of the most memorable moments in the history of comic books was when Premier Zhou Enlai personally urged attention to "little people's books" in 1971. Jiang Weipu, a veteran comic editor, still recalls that night vividly. Now 85 years old, he continues to curate 100 classic works for future projects, hoping to leave a legacy rather than let it fade away.
Beyond being a popular form of entertainment, comics have shaped the values of generations. Liu Jie, a veteran comic planner, recalls how stories like "The Loyalty of the Old General" and "Dong Cunrui's Heroism" instilled important virtues such as loyalty, filial piety, and wisdom. These narratives helped shape his worldview and motivated him to stay in the field of comics.
Once considered everyday reading, these "little people's books" have now become high-end collectibles. Original manuscripts have fetched astonishing prices: Liu Jiyao’s "Wild Boar" sold for 209,000 yuan in 2004, Shen Yiyi’s "Red Ribbon of the Earth" for 15.4 million yuan in 2006, and Cheng Shifa’s "Welcome to Mao Zedong" for 3.58 million yuan in 2009. Even older comic strips have become valuable, with some selling for tens or even hundreds of times their original price.
Comics from the 1950s and 1960s, such as "The West Chamber," "Qu Yuan," "The Dijiang Scouts," and "The White Haired Girl," are particularly sought after. These works, which won awards and were created by master artists, have found their way into auctions, where they often sell for high prices. For example, a set of "Romance of the Chinese" from the 1980s sold for 10,000 yuan.
Despite their growing popularity, the comic book industry faces challenges. Fewer new titles are being published, and the number of skilled artists has dwindled. Many traditional painters have retired, while others have shifted to different styles of art. Younger artists are often unwilling to spend time on comic books, especially since the financial rewards are low.
Liu Jie notes that today, only a few dedicated artists remain, such as Zhou Shen, Guan Qingliu, and Pu Huihua. He emphasizes that creating quality comics requires deep cultural knowledge. For instance, illustrating "Romance of the Three Kingdoms" demands a thorough understanding of the novel, historical context, and period-specific details. Unfortunately, fewer young artists possess this level of expertise, making the craft increasingly rare.
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