Before the 1980s, the picture books that Chinese students secretly circulated in the classroom were still tattered comic books, that is, little books.
The themes of the mini-man books are mostly ancient masterpieces or revolutionary stories, and there are very few children themes. But the students still like it tightly.
There are even vendors specializing in comic strip stalls near the school. As long as you pay a dime, you can sit on a small bench and read a comic strip.
At that time, a person's popularity was roughly proportional to how many villains he had. In the social circle of students, Xiaorenshu is the hardest currency.
"Astro Boy with Iron Arms" introduced in the early 1980s was still published in the form of a small book
In 1987, People's Fine Arts Publishing House published "Doraemon", retaining the original form of the work, and it was the first cartoon introduced in the true sense of our country
In the early 1990s, when the spring breeze continued to blow all over the ground, it was as if an overwhelming Japanese manga came across the sea overnight.
Brochures from publishing houses such as Hainan Photographic Art, Spring and Autumn, Ningxia People, Dunhuang Literature, etc. quickly seized the extracurricular reading market.
Dragon Ball published by Chunqiu Publishing House in 1989, translated as "Little Monkey King"
Saint Seiya, published by Hainan Photography and Art Publishing House in 1990, translated as "Female Saint Seiya"
In the face of the menacing Japanese manga, the little book that accompanied countless people to grow up fell into an army.
After all, in the face of Japanese manga's changeable style, interesting plot, and mature market system, the villains have almost no advantage.
What's more, the first batch of Japanese manga that landed in China were all selected from "Doraemon", "Dragon Ball", "Saint Seiya", "City Hunter", "Fortune Boy" and "Captain Tsubasa" even in Japan.
From then on, countless Chinese children began to bear the mark of Riman in their childhood.
As a Chinese reader, when my friends and I discuss Super Saiyan or Pegasus Meteor Fist enthusiastically, we occasionally sigh:
Such questions are not unique to me.
Perhaps there is a character of unyielding in the Chinese people's bones. In areas that are inferior to others, there will always be people who stand up, starting from nothing, from less to more, from backward to leading. We have seen too many stories like this for decades.
In August 1993, at the Zhongguancun Book Market in Beijing, a magazine quickly became popular among booksellers.
This is a new type of comic magazine that imitates the "Shounen Jump" produced by Shueisha, Japan, and is the first new-style comic magazine in the history of mainland China that adopts Japanese-style split-lens expression techniques.
"The King of Picture Books" Issue 1
As soon as the magazine came out, it caused a sensation.
The founder, Mr. Wang Yongsheng, had still fresh memories of the scene until twenty years later:
"The inaugural issue of "Picture Book King" first printed 20,000 copies, and it sold out soon, urgently reprinted, and then reprinted. The subsequent issues have been continuously reprinted. Letters from readers from all over the world also flew in. "
Shanghai reader Ye Yongqing said: “I have read many comic books from Japan. I often wonder, why doesn’t China have its own comic books? I really envy Japan’s developed comics business... Yesterday, when I saw "The King of Picture Books", China finally With their own graphic magazines and people who are concerned about the comics business, comics are no longer a'pediatrics', no longer meaningless."
At that time, the Chinese book market was a mixed bag and it was one of the hugely profitable industries.
Regardless of whether it is a book or a magazine, if you can reach more than 10,000 copies per month, you can save money. Even if more than 50,000 copies are sold well, sales of more than 200,000 books can enter the Forbes list of books.
Although comic books are very popular, they are still limited to Japanese comics.
Even the relatively mature Hong Kong Manga is much weaker. For example, Huang Yulang's "Legend of the Son of Heaven", because of its full-color craftsmanship and expensive pricing, is not so popular.
This has to start with Wang Yongsheng, the founder of the magazine.
The editor-in-chief of "The King of Picture Books" is called Wang Yongsheng.
When the magazine came out in 1993, he was 62 years old, and he was actually a retired uncle.
At that time, the standard life of the retired uncle was to take a walk around the park in the morning, play chess in the morning, be fascinated in the afternoon, listen to cross talks, watch sketches, and play a few games of mahjong in the evening when you are in a good mood.
It is often said that the economic foundation determines the superstructure, and the size of a person's structure is often related to his social circle.
Wang Yongsheng has a wide range of friends, especially with the Japanese book industry.
Before his retirement, Wang Yongsheng was the director of the Publicity and Exhibition Department of the China Philatelic Corporation. One of his general duties was to preside over the magazine "Philately".
If a magazine wants to gain a foothold in the market, it must keep pace with the times and remain open.
After Kakuei Tanaka's visit to China in 1979, China and Japan began to communicate frequently, whether official or private. At that time, philately activities in Japan were very hot, and Wang Yongsheng went to investigate and learn from his experience in 1980.
After returning home, he used the activities organized by the Japan Post Association to carry out the annual selection. The elected monkey ticket became the hottest stamp at the time and the price soared. China's philately fever also reached a historical peak with the help of activities.
He himself does not collect stamps and never buys stamps, but he does the "Philatelic" magazine with a strong reputation.
This magazine, which was reissued from scratch in January 1980, initially sold less than 10,000 copies per month, but by 1983 it had risen to 320,000 copies.
In "The Story of the Editorial Department", the figure of "Philately" appeared
These experiences made Wang Yongsheng feel that the rise and fall of an industry lies in the people who love this industry. What outsiders need to do most is to provide them with a boost and build a free and open platform.
The idea of building a platform and creating opportunities for fans was also used by Wang Yongsheng in "The King of Picture Books."
That year, the Hong Kong comic company "Jade Dynasty", which had been successfully listed for six years, introduced and authorized comics from Japan, which caused a shock to the Hong Kong book industry.
Hong Kong version of "The Three Sisters of Maoyan"
Although he has retired, Wang Yongsheng's habit of opening his eyes to see the world has not been put aside.
In his memoirs, he mentioned how he felt when he saw a comic for the first time:
I asked Xiao Zi, general manager of Sanlian Bookstore in Hong Kong, and Abe Da, an old Japanese friend who had worked in China for many years, to help find many Hong Kong, Taiwan, Japanese, and American comics and related materials. My eyes were wide open. I was originally outside of mainland China. Comics are completely different, another world!
Such an impact made him think:
A series of whys triggered Wang Yongsheng's brainstorming.
The comics in the 1970s in the mainland can only be called illustrations or picture books at best. The content is basically adapted from novels and classics, and there are few originals.
Comic strip "Swallows and Li San"
As for the form of expression, it is an illustration with a few lines of shrunken text. Compared with Hong Kong Comics and Japanese Comics, it is almost like a shotgun than a cannon.
But Wang Yongsheng doesn't understand comics and only understands magazines. What should I do?
So how did Wang Yongsheng, who is over 60 years old, learn to run a comic magazine?
What he did first was to get the fans together first.
In 1992, the China Comic Research Association was established. This is a national industry organization voluntarily formed by comic researchers, creators, painters, publishers, educators and related comic groups. The chairman is Wang Yongsheng.
Running a magazine also needs the help of a publisher. Although Wang Yongsheng no longer has the yellow robe of the publishing group's public institutions at this time, he is still able to spread hero posts with the help of his many years of accumulation.
In about half a year, Ningxia People's Publishing House threw an olive branch and sent people from thousands of miles away to Beijing to negotiate with him the rules for running the journal. The two sides hit it off.
In March 1993, Ningxia People's Publishing House applied to the Press and Publication Administration for "The King of Picture Books", which was approved in May.
Wang Yongsheng wrote the first volume of "The King of Picture Books" Issue 1
After everything was ready, Wang Yongsheng spent three months preparing the first issue.
Wang Yongsheng set a keynote for the magazine, referring to the Westernization Movement in the late Qing Dynasty:
Learn from the strengths of other families, walk your own way, use the new-type comics popular in the world as a reference, and strive to develop domestic comics.
This magazine has thus become the first stage where Chinese original comic authors can display their talents.
Although Huawang devoted himself to fostering Guoman at the beginning of the publication, Guoman had been in a blank before and did not have any mature works.
In order to "make up the number", Wang Yongsheng even personally took the role of the script, and drove out the "Peach Club" with the comic artist Tan Xiaochun.
In the first few issues, although Chinese original comics and Japanese comics accounted for roughly the same length, although every reader was cheering for the Chinese cartoonists——
However, even elementary school students can see that, regardless of the level of art or the excitement of the plot, there is a huge gap between the national comics and the Japanese comics serialized in the same period.
Issue 1 Catalog
In fact, it's no wonder they, after all, the Chinese cartoonists at the time were just transitioning from comics, and they were making new attempts. Some cartoonists hadn't even seen dotted paper.
And they competed on the same stage with famous players such as Akira Toriyama, Masami Sada, Rumiko Takahashi, and Ji Hojo.
So in the early days, it was the daily comics that were responsible for opening up the market for the painting king and accumulating popularity.
"Captain Tsubasa", "Dragon Ball", "Astro Boy" and other classic Japanese comics have appeared on the cover
In addition to popular comics such as "Dragon Ball", "Captain Tsubasa" and "City Hunter", there are also many classic works that were not previously known by the Chinese, and they also appeared in the painting king——
For example, the first issue of Zheng Wen's "Qin Shihuang" was awarded a grand prize by the Japan Cartoonists Association. In the Hong Kong comic company Jade Dynasty, his comics were handed as a textbook.
The 5th issue published "Komatoi and Shonen" by Osamu Tezuka, the "God of Manga". This is a short story of "Black Jack," and "Black Jack" is known as the three masterpieces of Japanese manga in the 1970s. .
漫画之神手冢治虫（Osamu Tezuka）出版了第五期《 Komatoi and Shonen》。这是“黑杰克”的短篇小说，而“黑杰克”被称为1970年代日本漫画的三大杰作。 。
The seventh issue published "Legend of Mermaid" by Rumiko Takahashi. Rumiko Takahashi is a rare and outstanding female cartoonist in Japan.
高桥留美子（Rumiko Takahashi）出版了第七期《美人鱼传说》。高桥留美子（Rumiko Takahashi）是日本的杰出女性漫画家。
"The Little Dinosaur Argon" won the Oscar "Esna Award" in the American comic industry
The eleventh issue published "Little Dinosaur Agon" by Masashi Tanaka. This comic is realistic in style and has no lines or text throughout the article. It uses character expressions instead of language. It has won the title of "Oscar in American comics." Esna Comic Award.
The 22nd issue published "Masked Superman" by Ishimori Shotaro. Ishimori Shotaro was an outstanding manga artist in the early days of Japan's Tokiwaso in the 1950s. Many of his manga were adapted into special dramas with far-reaching influence.
第22期出版了Ishimori Shotaro的“假面超人”。 Ishimori Shotaro在1950年代日本Tokiwaso的早期是一位杰出的漫画家。他的许多漫画改编成具有深远影响的特殊戏剧。
Of course, the works of some popular cartoonists published by the king of paintings are also controversial, such as Masami Chada's "Shoang of Static Fighter".
In terms of plot and characters, this work has a lot of overlaps with his last work "Saint Seiya", and it is even more straightforward.
Wang Yongsheng selected these excellent comic works, on the one hand, for readers to read and appreciate, on the other hand, he wants people who like to draw comics to see more excellent works of various ages.
In order to allow Chinese comic authors to gain more systematic knowledge, the King of Painting has been serializing Toriyama Akira's teaching comic "Manga Research Institute". This anti-commercial choice is a well-intentioned choice.
However, the readers did not wait long.
Several young people under the age of 20 gave them pleasant responses.
Wang Yongsheng's idea of supporting domestic comics was very valuable at the time.
In that era when comics were still new and not recognized by the mainstream, it was difficult for the first comic authors in China to gain recognition and support from family members and those around them.
However, the emergence of the platform "The King of Picture Books" allowed them to shine.
Wang Yongsheng set up a studio in Beijing, and looked for young creators who love comics across the country, provided them with board and lodging to solve the logistics, so that they could devote themselves to original comics without worry.
19-year-old Chen Xiang and Zheng Xusheng, 18-year-old Yan Kai, gathered at the studio in 1994 and became the first three professional cartoonists in China.
The encounter between each of them and the painting king is a good story.
In 1993, only 17 years old, Yan Kai studied in Shenzhen University
For example, Yan Kai, who fell in love with comics since his middle school years, was once regarded as a "crazy man" by his classmates because he devoted himself to drawing every day.
When he was studying in Shenzhen, he was studying international trade and rented a house. He read comics and drew comics in it every day. When he was happy, he would burst out laughing. At one time, he scared his neighbors enough and thought he was a weird person.
It was not until he came to the studio of King Painter that he finally met like-minded Chen Xiang and Zheng Xusheng. From then on, he was not regarded as crazy or weird by people around him.
On January 20, 1994, in the tenth issue of "The King of Picture Books", from Zigong, Sichuan, when he was only 19 years old, Chen Xiang made his debut with "Small Mountain Diary", which gave readers a huge surprise.
Many people first saw "Oyama's Diary", and their eyes were bright. This is a work that has no sense of contradiction in many Japanese manga.
Although it bears traces of imitating Toriyama Akira, it also has its own innovations. The characters are exaggerated and cute, the story is humorous, and the imagination is wild.
More importantly, "The Diary of a Small Mountain" can no longer see the shadow of the comic style, which stands out among the original comic works of the time.
That's why it has only been serialized for a few issues, and "The Diary of a Small Mountain" has become the masterpiece of the painting king.
Many readers said in a letter to the editorial department: "
Also in the 10th issue, "The Picture Book King" made a far-reaching decision-to hold "
"Painting King Super Short Story Contest" that inspires countless people's creative enthusiasm
The so-called ultra-short stories refer to comic works with only four pages. Due to the small number of pages, the painter is not very demanding, so even people who have never painted comics can try their skills.
As soon as the call for papers came out, the enthusiasm of domestic comics fans was fully aroused. Snow flakes of submissions flew from all over the country to the editorial office of "The King of Picture Books".
In the 15th issue of "The King of Picture Books", the first batch of submissions met with readers, and then about 50 short comic works were published one after another.
In that issue, Yan Kaifu, who was only 18 years old, got the front page treatment as soon as he appeared.
He also appeared on the stage with a name that countless readers still miss: Xue Ye.
I still remember the first encounter with "Snow Coconut".
During a break between classes, a classmate ran excitedly and said, "Have you seen the latest issue of'Painting King'? There is a guy named Yan Kai who painted so well!"
"Xue Ye", a popular Chinese comic published in the 17th issue
If "Small Mountain Diary" gave domestic readers a surprise, Yan Kai's "Snow Coconut" can be said to have caused an unprecedented sensation. Readers rushed to pass it on, and Luoyang paper was expensive.
"Snow Coconut" caused a sensation, probably because both the painting skills and the plot reached the extreme of Chinese original comics at that time.
Even from today's point of view, the style and plot of "Snow Coconut" are not at all outdated.
"Snow Coconut" has two potential elements of popularity: one is the "traversal element" that has never come to the present, and the other is the "real life fragment" that resonates with readers. These two points made up for Yan Kai's immature style of painting at the time.
Many years later, "Xue Ye" still worries countless readers, and the heroine Xue Ye is also an important reason.
Xueye is probably the first "goddess" image in the history of Chinese comics. Her beauty, kindness, and often shy and cute expressions make people thrilled.
Although judging from the current point of view, such an overly perfect heroine image is a bit thin and seems like a vase.
But at the time, the audience for this comic were all teenagers and a half-year-old children. The surprise and ignorant sentiment intertwined at first sight made Xue Ye easily become an unforgettable existence.
In that issue of The King of Painting, 9 excellent works selected as "Call for Papers for the King of Painting" were also published.
Most of the short articles published in the 17th issue of Huawang are from middle school student readers
The authors of these 9 comics are all students who are still in junior high and high school. This truly realizes the strategic vision of editor Wang Yongsheng to open up a new situation among students——
For a time, new and old cartoonists competed on the same stage on the stage of painting kings, and the serials of Chinese and foreign comics went hand in hand, and works of different styles came one after another.
Hu Qianrong, who is still in the second year of high school, published "New Year's Gift"
Cindy Leila by Hu qianrong
Cindy Leila by hu千荣
Yao Feila’s debut "Happy Christmas Eve", published in Issue 16
Yao Feila, Hu Rong, Nie Jun, Freedom Bird, Zhao Jia, A Heng, Lin Min, Chai Meihua, Hu Qianrong... all strange names started here and gradually became the backbone of Chinese original comics.
Although most of these short works are immature and the traces of imitation are still obvious, each piece of work with different styles shows the vigorous vitality of Chinese comics.
In addition to the stable serializations of "Snow Coconut" and "Small Mountain Diary," there are also A Heng's "Shaolin Orthodox", Zheng Xusheng's "Our Opium War", Zeng Tu's "New Blood War", and Changhong's " "Sword Qi Yangtze River"...It can be said that there are many bright spots, each good at winning.
"Snow Coconut" appeared on the cover of issue 19, and the names of the other three national comics also occupy prominent positions
Spreading the world's best comics, supporting domestically produced original comics, and training new authors-the painter who has worked hard in these three aspects, can be said to be on the right path.
In my memory, I had a happy and fulfilling life in 1994. I spent every day reading the old "Picture Book King" and looking forward to the new issue of "Picture Book King".
That year, the time with the painting king was a precious memory.
However, after school started in September 1994, I counted time to go to the newsstand that I was familiar with.
For one week, two weeks, and one month, I ran to the newsstand every day like a demon, but I never saw the familiar figure of "Painting King".
Until, the boss of the newsstand told me:
Like many readers who heard the news at the time, I stood in the blazing sun in the late summer. After being shocked, I was long-lost.
how come? Isn’t it just the first anniversary of the publication? Didn’t you just post a lot of new serials? How can a magazine that has just been published for one year and is still on the rise, with a bright future, ceased publication without any warning?
Considering that a magazine was often circulated among multiple people at that time, the actual readers of "The Picture Book King" reached at least one million.
In summary, there are "Leadership Theory", which means that a leader called an emergency stop; there is an "Interest Theory", which points out that the huge profits of the painting king violated certain interest groups; and the "Infringement Theory", which refers to the illegal publication of works by Japanese manga authors. Cause copyright disputes.
Twenty years later, I finally learned from the memories of Mr. Wang Yongsheng the reason for the discontinuation of "The King of Picture Books":
"It happened at a meeting about children’s periodicals. During the meeting, a leader suddenly took out a magazine, pointed angrily to a color illustration, and said, "Can such a painting be shown to the children!" The magazine stopped.
That painting is a page of illustrations from the early days of "The King of Picture Books", and is from the famous Japanese manga artist Hojoji's "Xia Tanhan Yuliang".
What's wrong? If you have read this story, know who the protagonist Han Yuliang is, and know what the people in the picture are doing, probably no one will associate it with ‘Yellow’..."
The coloring page inside the cover of the 5th issue of Huawang became the fuse that caused the disaster that year
I have to say here that even if the leader does not stop the painting king because of "Xia Xian Yu Liang", some content published in the magazine and later periodical is easy to "get angry".
For example, the 14th issue of King of Paintings published "Auction House" by Japanese cartoonist Ye Jing.
At that time, Japanese manga had a strict grading system. Youth manga magazines could not publish bloody, violent and pornographic content, and Ye Jingsuo's manga works clearly belonged to the category of young manga.
The King of Painting 14 periodical published the color pages of the young Japanese cartoonist Ye Jing
In Ye Jingzuo's paintings, there is a character from "Experimental Humanoid Oscar". This comic has been serialized in the comic magazine "GORO" in Xiao Xueguan since 1977. It is a male comic magazine dedicated to adult men. Because of the explicit and stimulating description, it also caused a lot of controversy in the Japanese manga industry at that time.
Although "Auction House" selected by the painting king is not as explicit as "Experimental Humanoid Oscar", there are still violent and bloody scenes.
At that time, Huawang's readers were still mostly middle school students, and it was quite inappropriate to select restricted youth cartoons.
So in all fairness, the very few comics of the King of Painters are really not suitable for underage readers.
If you could be more careful about the topic selection of comics at that time, and had a deeper understanding of the classification and copyright of comic works, the ending of the painting king might be different.
But think about it, many people who have made serious mistakes can escape punishment by means of "three glasses of fine wine", or "make a comeback" elsewhere after being punished.
However, "The King of Picture Books", which has brought great hope to the Chinese comic industry, has not even got the opportunity to correct its mistakes.
Not even once.
As Wang Yongsheng said, "
as Wang Yong省赛的, "
Although more than 20 years have passed, I still want to question the painting king who cannot come back:
In the last issue of "The King of Picture Books", Tadao Kimura, the dean of the Japanese Manga Academy, sent a message and mentioned the hope of introducing Chinese manga into Japan.
Message from Tadao Kimura
However, after Huawang ceased publication, this vision that seemed to be realized soon fell through.
Many years later, Wang Yongsheng still regretted it:
Many of the cartoonists and works that emerged on "The Picture Book King" at that time have disappeared, and have never been seen since.
Although the ill-fated "Gemini", "Xue Ye" and "Diary of a Small Mountain" have not disappeared, they have since begun their life of displacement.
The two works have been transferred to many magazines, and a separate book has been published, but in the end they failed to persist.
The diary of the hill and the single volume of snow coconut
On October 3 this year, Yan Kai also recalled on Weibo that after he switched to "The King of Popular Science Painting", he was owed more than half of the draft fee and had to stop updating.
Chen Xiang, who created the history of Chinese comics, has fewer than 4,000 Weibo fans.
In 2017, he also searched for his name on Weibo and found that it was singer Chen Xiang.
When he was lost, he saw someone asking:
As a result, when his heart warmed, he saw an answer: he stopped painting a long time ago and went to a decoration company.
In fact, Chen Xiang has never worked in a decoration company, he has been drawing cartoons.
Chen Xiang's later work the list of spirits
This kind of experience also reflects that after Huawang ceased publication, domestic original comic authors lost their most mature platform at the time and fell into a dilemma.
We only know that due to the promotion of this magazine, around 1994, as Yan Kai said,
At that time, both readers and authors had a pure and persistent enthusiasm, and they had firm confidence in the development of Chinese comics. Everyone believed that Chinese comics would form their own style, and one day they would catch up with or even surpass Japan.
However, "The King of Picture Books" crashed down in front of administrative orders. The first generation of Chinese cartoonists lost the position to publish works, and a whole generation of Chinese children lost the opportunity to contact domestic cartoons.
Yan Kaizeng said angrily in "The Story of Me and "The King of Painting"
"We have lost the first and strongest platform that has developed well; we have lost, and initially discovered a large number of talents accumulated; we have missed the two years of golden development; we have given up, and have entered the fast lane. The express train of transformation to original comics. The development of new Chinese comics has just sprouted, and it has stepped into the market’s acupoints. After quickly entering the fast lane, it was cut across the bank. In this way, we have lost the golden age of the development of new Chinese comics. A generation Your dreams are withering like a flash in the pan."
After that, no matter how many plans the country issued to revitalize the national animation industry, the domestic comics industry never returned to the vigorous and vigorous atmosphere of the past.
A conjecture that will never have an answer, stays in the hearts of all those who pass by:
If "The King of Picture Books" could live longer, if the living environment of Chinese comics at that time was better, if the country supported the animation industry earlier...
Unfortunately, history cannot be rewritten.
The facts twenty-six years ago are--
The spark that had just been ignited in Chinese comics was also extinguished.
In 1994, Huawang's "New Comic Three Musketeers" carried the hope of creating the future of Chinese comics. For all those who like Chinese comics, that year was very sunny.
I am afraid no one can guess that the ultimate direction of this story turned out to be "the beginning is the end".
"The newsstand sells the painting king, the soul of rock and the rampant flashers whizzing past both cheeks" is Yan Kai's memory of 94
In 1994, the 17-year-old Yan Kai painted works in the King of Painting Studio
In 1994, there were also three young people in the rock industry who smiled brightly
A similar path of fate also happened to the "Magic Rock Three Masters" who wanted to create the future of Chinese rock.
That month, Yan Kai's "Snow Coconut" began to be serialized; Moyan Records released new albums for Dou Wei, Zhang Chu, and He Yong.
当月，严凯的《雪椰子》开始连载。 Moyan Records为窦唯，张楚和何勇发行了新专辑。
I believe this is not a coincidence.
This shows that more than a decade after the reform and opening up, young people in China have the ability to create new cultures such as comics and rock and roll.
It's just that they are not ready for the time.
Many years later, when I searched the resources of "Snow Coconut" on the Internet, I accidentally saw this comment. For a while, my heart was filled with infinite emotion. The words tell the truth.
许多年后，当我在Internet上搜索“ Snow Coconut”的资源时，我无意中看到了此评论。有一阵子，我的内心充满了无限的情感。这些话说实话。
21 years after Huawang ceased publication, on the Mid-Autumn Festival in 2015, 39-year-old Yan Kai left a precious group photo when visiting 84-year-old Wang Yongsheng.
In the photo, both people laughed happily.
This scene made the readers of the painting king sigh with emotion. They, from the teenagers who saved pocket money to buy magazines, became the fathers of children who wanted to earn money for milk powder.
But those good things and regrets scattered in time always rise from the depths of memory.
At this moment, the child who stood outside the newsstand waiting for the latest issue of the King of Painting has also passed.
Comics have also drifted away from the life of firewood, rice, oil and salt.
I still treasure the entire set of 24 "The King of Picture Books", which is the mark of my youth and the best testimony of the golden age of Chinese comics.
There is a big dream in the world, and life has been cool in autumn.
Once promised you dream all the way, the sky is full of stars. In the end, the deceased disappeared, and the paper was flying.
But please don’t forget--
The first anniversary of "The King of Picture Books" is also its last issue
Long press the QR code to follow the monitor
Disco together in this world
1. Wang Yongsheng:
1. Wang Yong生: