Manhwa

Manhwa (만화/漫畵, to pronounce man-hoed ) is the name given to the Cartoon in Korea. Is used it abroad to designate the Korean cartoon. Big part of the Korean culture, the manhwa is very dynamic and is declined in many forms: paper, Internet and mobile phone. Korea is today one of the first producer countries cartoons. An author of manhwa is called a Manhwaga.

History of the manhwa

Origins

Like the Manga （漫画 Japanese） and the Manhua （漫畫 Chinese）, the manhwa is strongly influenced by the classic art Asian and more particularly Chinese. Old engravings (Xylography) of the 10th century, very sophisticated, were used to diffuse the Buddhist guns in the population. In Korean engraving Bomyeongshibudo (보명십우도/普明十牛圖), a cow tells a Buddhist fable . The page is cut out there in boxes and the image, with the top of the text, illustrates this one. One is already in sequential art specific to the cartoon.

During the Period Joseon, Korean art continues:

the painted portraits peaceful and are not deprived of humor. This tradition is found in the illustrations of the covers of the popular novels, the posters, and later in the first cartoons.
the literature opens out. The sung narrative poems (Kasa 가사), the popular novels (Japga 잡가), the Pansori (판소리) but also the spectacles of clown, give a whole an important place to the narration and do not hesitate to criticize the company. One finds these characteristics (importance of the narration, the criticism of the company) in the manhwa.

The manhwa thus developed under a double influence: the epic tradition and Eastern pictorial art founded on the line.

Beginnings under Japanese occupation (1909-1945)

The October 30th 1883 appears the first Korean newspaper: Hanseongsunbo 한성순보/漢城旬報. Others follow, all controlled by the government. In these first newspapers, one does not find cartoons but of many illustrations helping with the comprehension of the topicality. June 2nd, 1909, with the first publication of the Daehanminbo 대한민보/大韓民報, appears the first manhwa. On first page, under the title Saphwa (삽화), the Koreans can discover the work of the caricaturist Lee C-yeong (이도영). Engraved on wood, the manhwa of Lee C-yeong seek to awake the spirit of the Korean people through an at the same time satirical work (the civils servant pro-Japanese are represented there under features of monkeys) and didactic.

The publication of the manhwa of Lee C-yeong lasted only one year: in August 1910 the Japanese occupation starts and the Daehanminbo is removed. The press as the country is controlled of an iron hand. But following the rising of March 1st 1919, the Japan slackening a little its influence on the press and in 1920 of new titles are published of which manhwa. The caricatures always hold a choice place and know to with it a very rich production thanks to the contests of cartoons organized by the newspapers.

Starting from 1924, with the manhwa the vain efforts of an idiot ( Meongteongguri heonmulkyeogi 멍텅구리헛물켜기) of Noh Known-hyeong (노수형), published in the Chosun Ilbo (조선일보/朝鮮日報), the manhwa starts to adopt conventions of the Western cartoon (boxes and especially bubbles). The first specialized collections and newspapers are published. The manhwa is affirmed like the media privileged to criticize the yoke of Japanese oppression. In parallel, the Japanese government publishes many cartoons of propaganda, to support the production of rice or in direction of youth in order to incite it to engage in the army.

To accompany by difficult times (1945-1980)

With the Release, the country is under American and Soviet administration. The press agencies partly find their freedoms and the satirical manhwa make a shy person reappearance there. The first popular character, the Professor Kojubu of Kim Yong-hwan (김영환), makes his appearance in the Seoul Times . New reviews are created and of the reviews of manhwas for adults are born. The September 15th 1948, Kim Yong-hwan founds the Manhwa Haengjin (만화행진/漫畵行進) (the manhwa moving), which is the first review entirely devoted to the data base This one must however cease its publication as of the second number, victim of an always strong censure. However the following year, the March 13rd 1949, Manhwas news begins its weekly publication which will last one year with much success. This review publishes the best draftsmen of the time: Kim Seong-hwan (김성환), Kim Yong-hwan (김영환), Shing Dong-heon (신동헌), Kim Have-hwan (김의환) or Lee Yong-chun (이영천). As in Japan at the same time, band-drawn the émancipe of the daily newspapers of information and becomes an autonomous popular kind.

With the War of Korea, the manhwa finds a central place in the propaganda on the two sides of the conflict. The draftsmen are mobilized and produce many leaflets, particularly in the south. the soldier Todori of Kim Yong-hwan, which exalte the courage of the soldiers, meets an enormous success. The censure hardens again and the too critical caricaturists are severely condemned. However, to accompany a company touched hard by the war and misery, and in particular the children, the reviews of manhwa multiply the accounts of adventure and whimsical like Doctor Hendel of Choi Blood-gwon (최상권). These accounts are published in reviews at low-costs, on a paper of very bad quality and of which today it only remains very little of specimens. These reviews, called the Ttakji manhwa (딱지만화) and published in Busan, make it possible young authors to launch out. With the Takji manhwa the data base starts to diversify to adapt to the tastes of increasingly many and various readers. But it is with those that the manhwa takes its contemporary form, with boxes and bubbles.

The end of the war of Korea marks the one period very prolific beginning for the manhwa. This one is prolonged until the medium of Années 1960 and is accompanied by the opening and very fast success by the first bookstores by loan which make it possible to rent and read band-drawn: the Manhwabang S 만화방/漫畵房. The market starts to be structured, of the specialized publishers are created like Manhwa Segyesa 만화세계사 and of many independent editors launch out in the adventure and of new reviews arrive on the market like the very popular Arirang 아리랑. One starts to publish albums of 200 pages with complete accounts, supporting the blossoming of long dramatic accounts in the which excellent for example Park Ki-jeong (박기정) or Kim Jong-rae (김정래). But this experiment of a cartoon in album will be of short duration, the success of the Manhwabang S which support the meeting between manhwas and public quickly puts a term at it at the profit of many reviews. This passion for the manhwa makes it possible to the authors more comfortably to live and the publishers of launching and revealing new draftsmen and new forms of manhwa.

The manhwa of the end of the Years 1950 and the beginning of the Années 1960 is very diversified. If the kind dominating is the Myeongrang manhwa (명랑만화/明朗漫畵) (manhwa humorous for adult of 3 or 4 pages), the Korean data base of narration develops and opens out 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) creates the manhwa science fiction and the fantastic manhwa while Park Ki-jeong (박기정) develops the historical manhwa and reconsiders the time of the Japanese occupation in Poktana (폭탄아/爆彈兒) (the Bomb) which tells the adventures of young Korean who fights against Japanese in Mandchourie. The Sunjeong manhwa (순정만화/純情漫畵) become a kind with whole share with Kwon Yeong-seop (권영섭), Choi Blood-rok (최상록), OJ Won-ki (조원기) or Jang Eun-ju (장은주). But this period of euphoria is of short duration. After the coup d'etat of the May 16th 1961, the manhwa will decline under the attacks of the censure which undermines the creativity of the authors. The distributer and publisher Habdong Munwhasa (합동문화사) take the control of the distribution of the manhwas and repurchase the editors of manhwa. In 1966 it founds the monopoly on the edition and the distribution of the manhwas. Although the Korean data base is found captive at the same time of the censure of the State and the monopoly of Habdong Munwhasa , it continues however through comic adventures for the children and of the dramatic accounts for adults to comfort Korean. The contemporary subjects are forsaken with the profit of the long historical, emblematic graphic novels of the manhwa of the Années 1970 and which make it possible to criticize the capacity in place discreetly. Korean recognizes itself in the fights against feudalism at the end of the Period Joseon or the mishaps of their ancètres. These manhawas allows Korean, all in their bringing a little dicertissemnt and comfort during one difficult period, réaproprier their history after the censures of the occupation Japanese and the long years of war.

The first historical long series, are published by the daily newspaper Ilgan Sports in 1972: Im Keog-jeong (임꺽정) of Go U-yeong (고우영) which is one of the headlights authors of this period with the other series Suhoji (수호지/水滸志), Samgukji (삼국지/三國志) adaptation of the Histoire of the Three kingdoms which was its greater success, Chohanji (초한지/楚漢志), Seoyuki (서유기/西遊記) or Garujikijeon (가루지기전). These long historical accounts were not deprived of humor and dramatic situations. It is also in the Ilgan Sports that starting from 1974 is published, the series Goindol (고인돌) of Park Known-dong (박수동). This series appears during 18 years. With a very original feature supported by a direct and humorous tone, Park Known-dong, milked men ratios/women all while discreetly introducing there an erotism then prohibited. The weekly magazine Sunday Seoul dominates the market of the manhwa in the years 1970, thanks to the historical dramas of Bang Hak-ki (방학기) which are distinguished from the remainder of the production by the quality of their scenarios and the naturalism of the dialogs. But these first important successes of the manhwas for adults do not eclipse therefore the manhwa for the youth whose reviews are flourishing. These band-drawn are optimistic and merry. Among the most solicited authors and plebicities one counts Kil Chang-deok (길창덕), Yun Seung-hun (윤승훈), Park Known-dong (박수동) and Shin Mun-known (신문수).

Rebirth and dynamic of the manhwa in the Eighties

In 1981, Kim Known-jeong (김수정) takes as a starting point the manhwa for children of the years Années 1970 to carry out Dooly the small dinosaur (아기공룡둘리) which will be the first manhwa with being adapted in drawing-animated and with being the object of many derivative products. It is also the first antipathetic hero of manhwa. This spectacular success marks the beginnings of the revival of the manhwa.

Lee Hyeon- (이현세) radically changes into 1982 the mode of diffusion of the manhwas while publishing in several large volumes Gongpoui Oeingudan (공포의외인구단) ( a frightening team of baseball ), history of a team of Loser S which through drives beat the Japanese teams. This account gains immédiatemnt an important success and revival the reading in the Manhwabang S forsaken a little in the Années 1970. Many authors will publish in their turn in this form with the image of Heo Yeong-man (허영만) or Park Ki-jeong (박기정). This kind is supported by the manhwabangs which want to offer to their readers this type of manhwas. Some of them gather and publish and rent these accounts of exclusiveness. Authors work exclusively for the manhwabang and make known themselves there before working for reviews. Networks of manhwabangs start to be set up, carried by these new accounts which want to reproduce the success of Gongpoeu Oeingudan which becomes the model of the genre: a poor, energetic hero is in love with a beautiful and rich young girl. Also supported by the manhwabangs, the reviews of manhwas thrive. The accounts are published there by episodes before leaving in volume. They are weekly or twice-weekly reviews. The first to have met a great success is Bomulseom 보물섬 ( the Island with the treasure ) creates in 1982 which publishes Lee Hyeon- (이현세) and Hwang Mi-na (황미나). Follow many reviews which deliver a keen competition which causes of sectoriser the market according to générationels criteria, sexual or of tastes. The female manhwas that the censure had prohibited in the years 1970, return in force in the middle of the Années 1980 with auteures like Kim Hye-rin (김혜린), Kang Gyeong-ok (강경옥) or Hwang Mi-na (황미나). In 1990, the magazine Renaissance which treats exclusively Sunjeong manhwa is created. One finds also magazines specialized in the Science-fiction and the Heroic fantasy.

Starting from the manifestation of the June 10th 1987, the censure appaise and the first contemporary and realistic accounts of Lee Hee-jae (이희재) makes their appearance. Tuck patterns as those of Park Jae-dong (박재동) which had initiated the beginnings of the manhwa find their satirical tone. Many young people artists, mainly of the women, choose the manhwa like means of expression, financially constant by the dynamics of the market and the rooms of loan.

The manhwa today

Since the end of the Years 1980, the Manga S are authorized on the Korean market and gain a great success. Vis-a-vis a qualitative decline of the manhwas little by little, the manga was essential. But, very quickly the market and the authors knew to react. Reviews like IQ Jump or Young Champ were created on the model of the Japanese reviews and the authors left free course to their creative desires. Thus Yang Young-soon (양영순) treated male sexual phantasms in Nudl Nude (1995) which will be adapted out of cartoon film. Daily violence is approached by Lee Yoo-jeong (이유정). The women more were interested in returned daily newspaper, the feelings and the human conscience. This research in all the kinds of personal and innovating styles supported the blossoming of many publishers, reviews and collectives independent relayed by the Manhwabang S. Starting from the crisis of years 97-98, those still reinforced their influence on the market and the share of the mangas is in reduction.

The very dynamic Korean company follows the modes with an extreme speed, also, the manhwa produces many kinds, sometimes influenced by the mangas, and adapts to new modes of reading. The young authors seek radical innovations as well in the sytle of the drawings as in the selected supports. The penetration rate of the Internet high banc which is one of most important world supports the diffision of the manhwas by Internet. The sites of the Manhwabang S propose to buy pages of manhwas by Internet. A new market is under development full: manhwas of four box, wired for sound, which one downloads and reads on his screen of Mobile phone. All the companies of mobile phone propose manhwas with their subscribers, making work tens of studios.

The State seeks today to diffuse and make known the manhwas, still ignored and too often compared to the mangas, with the remainder of world. Those start to be published in Europe, in the United States and Japan.

Economic situation of the manhwa in Korea

In 2001, the production brought back 156 million Won S of which the half thanks to the sale in bookstores or large surfaces, other half thanks to the sales with the Manhwabang S. the market of the manhwabangs represents in 2001 a market of 514 million wons. The market seems stabilized after the crisis of the years 97-98. It is consolidated.

On this market one counts a little more than 500 publishers of which 400 publish less than 20 titles per annum and ten more than 100 titles. Among the most important publishers one can quote:

Daewon C&I Internet site
Séoulmunhwasa Internet site
Sigongsa Internet site
Edition Haksan Internet site
Chorokbarmagics Internet site

Principal authors

Lee C-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 (born in 1929)
Kim Seong-hwan 김성환 (born in 1932)
Park Ki-jeong 박기정 (born in 1934)
Kim Won-bin 김원빈 (born in 1935)
Kim San-Ho 김삼호 (born in 1939)
Go U-yeong 고우영 (1939-2005)
Bang Yeong-jin 방영진 (1939-1999)
Park Known-dong 박수동 (born in 1941)
Lee Jeong-mun 이정문 (born in 1941)
Yun Seung-un 윤승언 (born in 1943)
Lee Of-Ho 이두호 (born in 1943)
Kang Cheol-known 강철수 (born in 1944)
Heo Yeong-man 허영만 (born in 1947)
Kim Hyeong-bae 김형배 (born in 1947)
Kim Known-jeong 김수정 (born in 1950)
Kim Dong-hwa 김동화 (born in 1950)
Lee Hee-jae 이희재 (born in 1952)
Park Jae-dong 박재동 (born in 1952)
Lee Hyeon- 이현세 (born in 1954)
Oh -yeong 오세영 (born in 1955)
Kim Jin 김진 (born in 1960)
Hwang Undermined 황미나 (born in 1961)
Kim Hye-rin 김혜린 (born in 1962)
Shin It-suk 신일석 (born in 1962)
Kang Gyeong-ok 강경옥 (born in 1965)
Kim Youn Kyung 김연경
Its Hee Joon 손희준
Park Kun-woong 강경옥 (born in 1972)

Types of manhwa

Manmun manhwa (만문만화/滿文漫畵), manhwa in only one box
Myeongrang manhwa (명랑만화/明朗漫畵), manhwa humorous for adults
Sunjeong manhwa (순정만화/純情漫畵), intended for the female assistantship.
Ttakji manhwa (딱지만화), manhwa of adventure which occurs to Occident. Their golden age is in the Fifties.

The manhwa in France

Thanks to the recent success of the Japanese manga in France, the manhwa starts, timidly, to be published in France. Korea was the guest of honor of the 30e International festival of the cartoon of Angouleme in 2003.