從Taiwan Comix看臺灣「獨立漫畫」之發展

Abstract

本論文是首篇針對臺灣「獨立漫畫」主題的脈絡研究，從指標性刊物Taiwan Comix為出發點，研究臺灣「獨立漫畫」的起源與定義、產生背景與成因、發展歷程、經營困境等，並對其未來提出建議。研究方法透過文獻探討、史料蒐集與分析，配合半結構性訪談，受訪者僅以Taiwan Comix為主要範疇，包括其創辦人、負責人、創作者。依據研究目的，歸納分析出以下5點結論，期望對後續研究有所幫助。1. 臺灣「獨立漫畫」的起源與定義：「獨立漫畫」是由美國「地下漫畫」到「另類漫畫」演變而來，香港及中國率先受影響使用中文「獨立漫畫」一詞，2010年Taiwan Comix創刊時，也跟進自稱「獨立漫畫」，講求創作、作品本身、以至出版與行銷，各方面的獨立性，並適合成人閱讀，此名稱正式傳入臺灣，被傳播媒體及漫畫業界所使用。2. 臺灣「獨立漫畫」產生背景與成因：臺灣讀者養成日本漫畫的閱讀習慣與偏好，市場被壓迫、平台消失，加上國內少數出版社引進非主流日本漫畫、歐美漫畫、「圖像小說」等不同漫畫閱讀經驗的間接刺激，創作者產生自覺從事「獨立漫畫」，Taiwan Comix創刊與「同人誌販售會」興盛，更是帶動其風氣。3. 臺灣「獨立漫畫」發展歷程：約從1980年代~1995年的前驅期，臺灣已有漫畫社團推出成果發表的會刊，也有校園地下刊物的漫畫版面出現，以及臺灣「獨立漫畫」先驅艾爾先生，從1980年代末便持續創作至今；1996年～2009年的曙光期，「同人誌販售會」出現，原創漫畫與創作者增多，成為「獨立漫畫」主要發表與銷售管道之一；2010年後，由Taiwan Comix帶領進入方興未艾期，他們向國際漫壇發聲，並引起媒體注意，帶動創作風氣，臺灣「獨立漫畫」正式揭竿而起。4. 臺灣「獨立漫畫」經營困境：主要是銷售管道不足，無法找到有效益的通路寄賣，加上漫畫美術風格與內容較小眾，不易推行，更由於難以拿到政府的獎項與補助，使其運作加倍困難；採合資出版的Taiwan Comix，未監督販售成效，團體中又無決策者擬定出版策略，似乎已達成階段性任務。5. 對於臺灣「獨立漫畫」未來發展之建議：政府出資引介歐美漫畫、「圖像小說」，讓臺灣讀者接觸更多元風格、題材內容，不同漫畫文法表現的漫畫作品，「獨立漫畫」創作者折衷配合漸進式創作，從讀者與創作者兩端同時做循序漸進的調整，優先改善「獨立漫畫」的小眾問題；政府扶植漫畫教育，並定期補助創作費，積極協調國外漫畫展參展機會，如此有長遠計畫培養漫畫創作者，帶動臺灣漫畫創作風氣與產業，「獨立漫畫」得以適性發展。

This thesis was the first comprehensive study of Taiwan’s independent comics. It studied the origin, definition and development of Taiwan’s independent comics, as well as the difficulties facing independent comics publishers in the country. The thesis also gave suggestions to the future development of independent comics in Taiwan. The research methods included literature review, data collection and analysis, and unstructured interviews. The interviewees were limited to those who work for Taiwan Comix, including its founder, head and artists. Five conclusions were reached after analyzing the above materials, with the hope that they will benefit future studies on the topic. 1. The origin and definition of Taiwan’s independent comics: The term “independent comics” evolved from the terms “underground comics” and “alternative comics” in the United States. The Chinese term for independent comics, “Du Li Man Hua,” was first used in Hong Kong and China. In 2010, the term was picked up in Taiwan following the launch of the first issue of Taiwan Comix, which defined itself as a publication for independent comics. Established by a group of local comic artists, Taiwan Comix stresses independent content, publishing and marketing, which is suitable for reading by adult. Following the launch of Taiwan Comix, the term “Du Li Man Hua” was officially adopted by the mass media and comics sector in Taiwan. 2. Why independent comics came to exist in Taiwan: Taiwanese comic book readers have long adopted the reading habits and tastes of Japanese readers. As a result, the independent comics market in Taiwan has been suppressed and marginalized. Local comic artists began producing independent comics to turn the tide, and as they became more self-aware after reading non-mainstream comics and graphic novels imported from Japan, Europe and the United States by a few Taiwan publishers. The establishment of Taiwan Comix and the success of doujinshi event in Taiwan also helped increase the popularity of independent comics. 3. The timeline of development of Taiwan’s independent comics: In the pioneering period between the 1980s and 1995, comic clubs in Taiwan began publishing their own journals and campus newspapers started featuring comic sections. The pioneering comic artist Mr. AL also began producing works in the late 1980s. During the 1996-2009 period, doujinshi event in Taiwan emerged and became one of the main venues to publish and sell independent comics in Taiwan. The number of original comics and artists increased during this period. Since 2010, Taiwan Comix has attracted the attention of the international comics community and the media, boosting the popularity of independent comics. The age of Taiwan’s independent comics was officially ushered in. 4. The difficulty of publishing independent comics in Taiwan: The main difficulties arise from a lack of sales and distribution channels for independent comics in Taiwan. In addition, independent comics are a niche market, making it hard to promote and to receive government awards and subsidies. Taiwan Comix appears to have completed its initial task by not supervising its sales effectiveness, and by having no one responsible for deciding on a publishing strategy. 5. The recommendations of Taiwan’s independent comics’ future: The government should fund the importation of more European and American comic books and graphic novels, so that Taiwanese readers could read comic books that are more diverse in themes and styles. Independent comic artists should also gradually adjust their approach and make expanding their readership a top priority. Meanwhile, the government should also support comic education, regularly subsidize comic artists, and assist them in attending comic fairs abroad. If the government can assist Taiwanese comic artists with a long-term plan, it will facilitate the comic art environment and industries in Taiwan and allow independent comics to better develop in the country.