Our attitude toward comics and animation

By Kang Tae-jun

Over the past few days, Korea’s main portal websites such as Naver and Daum have witnessed an unusual word combination topping their hot search keyword lists. The words Koreans searched enthusiastically for were “Jingyukui (Jingyeokeui in official Romanization) Geoin,” which can be translated as “Advancing Giant.”

“Jingyukui Geoin” is a popular Japanese comic book series written by Iyasama Hazime. The writer started the series in 2009, and the comic book is still in publication. The reason this comic book topped Korean portal site’s keyword list is that a new animation series based on the comic is scheduled to be on air in Japan and Korea at the same time, and Koreans wanted information about it.

Even though I am not familiar with Japanese animation, I decided to watch this because I wanted to find out why the comic is so popular with both Japanese and Koreans. After watching it, I was able to understand why this animation got so much attention. “Jingyukui Geoin” has a creative and interesting story and view of the world that can attract people.

Japan has always been a powerful nation when it comes to its comics and animation industry. Contents produced by Japan have spread all over the world, bringing not only money but additional benefits to Japan. Japanese comics and animation play an important role in promoting Japan’s national brand, just like K-pop does for Korea these days.

There are many things that make Japanese comics and animation competitive and popular in the global market, but I want to point out one thing: Japanese writers’ amazing creativity. When we look at Japanese comics or animations that are popular worldwide, we can easily see they are full of their writer’s creativity, which impresses people. Miyazaki Hayao, a famous Japanese animation writer and director, is a good example. He has attracted many followers worldwide with his animations using unique and creative stories and materials.

What if we turn our attention to Korea’s comics and animation industry? Even though not as active as Japan’s, Korea also produces and consumes a lot of both, but it does not enjoy the triumphs Japan does. Is this because Korean writers or directors are not as creative as those of Japan?

I believe it is Korea’s social atmosphere that blocks the Korean comics and animation sector from growing. Only when the belief is formed that producing good quality work can bring money and fame to writers and directors, will more people jump into the comics and animation industry, making it become more mature and flourish. However, in Korea there is a rampant view that comics and animation are immature and childish. Some people even view those working in the comics and animation industry as losers.

Thanks to attention from many people, “Jingyukui Geoin,” from a foreign country, has been on the hot search keyword lists of Korea’s major portal sites for several days. What makes this happen is that the Japanese treat comics and animation as they treat works of art. It is common sense that a county with the small land mass of Korea should nurture its soft power in order to survive in this age of limitless competition. Comics and animations are good soft power elements Korea can develop.

When it comes to how to deal with the comics and animation industry, Japan has many good traits we can learn from.

The writer is an aspiring journalist who finished the Korea University Business School recently, and going to start studying journalism in Hong Kong from September. His e-mail address is taejun.kang@outlook.com.