• 2022 Taipei International Book Exhibition Brings a New Chapter for Post-Pandemic Publishing World (I)
    Sep 02, 2022 / By Michelle Tu ∥ Translated by Jenna Tang

    Since 1987, Taipei International Book Exhibition (TIBE) has become the most vibrant annual book fair in Asia, highlighting democracy, liberty, and equity through showcasing published books. Due to the global pandemic, TIBE had to cancel the international book fair for the past two years. Finally, in 2022, between June 2nd and June 7th, the thirtieth Taipei International Book Exhibition took place: a total of 31 countries and 364 publishers from Taiwan and abroad took part in the global gathering. The total number of visitors went up to over 250 thousand people. The special exhibition “HELLO 30!” used the artistic design of a time capsule for visitors to look back on memories of the Taipei International Book Exhibition, as well as major publishing events from past to present.


    HELLO 30! Time Capsule


    During the exhibition, there were virtual meetings and live panels from authors, including Pierre Lemaitre, the Prix Goncourt prize winner; Chantal Thomas, the winner of Prix Fémina; Emmanuel Lepage, the winner of Angoulême International Comics Festival Prize for the Best Album; Éric Faye, the Grand Prix de littérature de l’Académie française winner; Ha Jin, an author whom most Taiwanese readers are familiar with, who is also the winner of America’s National Book Award; Jonathan Franzen, the one-and-only person who appeared at the cover of Times Magazine as “Great American Novelist” in the last four decades; Charles Yu, the very first Taiwanese American author who received America’s National Book Award, and Li Kotomi, the very first Taiwanese-Japanese writer who received affirmation from Japan’s Akutagawa Prize. Throughout six days of exhibition, over 500 panels took place with distinctive features. As part of the international intellectual industry exhibitions, Taipei International Book Exhibition made rich and diverse reading events happen, attracting young generations to gather during the weekend, making it a moving, vibrant landscape.


    Virtual and Live Events (c) Taipei Book Fair Foundation


    Faced with the severe spread of COVID-19 in Taiwan, on May 8th, the number of people testing positive within a day had reached 44,361 people, which was the highest record around the world on that day. Before the opening of the book exhibition, it was concerning if the exhibition would end up being extremely empty. However, the main organizer, Taiwan’s Ministry of Culture, offered twenty million New Taiwan dollars of book coupons: every reader who visited the book exhibition would receive a hundred-dollar book coupon. The strategy worked very efficiently, and over two hundred thousand coupons were distributed during the Taipei International Book Exhibition.

    The most important highlight of this year is that France was the guest of honor for the fourth time: the sea of books that contained over 1,200 new titles, along with Proust’s handwritten manuscripts, Emmanuel Lepage’s illustration exhibition, voice economy forum, audio from famous authors’ readings, and more. There were a total of 52 full-house author conversations, translation workshops, French language classes, and comic concerts. The number of visitors proved that there was a reconciliation between attending in-person activities and preventing the spread of viruses.


    Emmanuel Lepage’s Illustration Exhibition


    Read On: https://booksfromtaiwan.tw/latest_info.php?id=181

  • New Steps for the Development of Taiwanese Queer Fiction (II)
    Aug 09, 2022 / By Chang Yi-Hsum ∥ Translated by Jenna Tang

    Read Previous Part: https://booksfromtaiwan.tw/latest_info.php?id=178


    The above three novelists are all deeply influenced by Taiwanese literature. With initial observation, we can tell that the earliest Taiwanese queer novels are modernist writings that are, at the same time, partly-autobiographical and confessional (take Qiu Miaojin (邱妙津) as an example) and they have been staying afloat in Taiwanese literature and history. The influence of Taiwanese queer novels has gone beyond coming-of-age stories and romance novels, and have entered a more diverse realm where social conversations take place. Writings from queer writers who were born past the ’70s, such as Ghost Town (鬼地方) from Kevin Chen (陳思宏), a story based on Yongjing, the author’s birthplace, and Kan Yao-Ming’s (甘耀明) Becoming Bunun (成為真正的人) can both be perceived as a reflection of this new phenomenon.

    Besides the titles mentioned above, since the “Liberate Hong Kong, Revolution of our times” movement, a considerable amount of writings from Hong Kong writers has begun to appear in Taiwan. Some of these authors studied abroad in Taiwan, and some have settled on the island. Although “Hong Kong’s fate” is the most distinctive theme, the key element in so many stellar writings is the excellence of these authors’ skills. What these writings address aren’t limited to historical trauma. In this trend, a musician from Hong Kong, Wang He-Ping (王和平), who had studied in Hualien, has written That’s the Hormones Speaking (色情白噪音). Just like the title, the author intends to let hormones, who exist without a language, speak out. In her work, queerness is filled with both piercing, sensory strength and the overthrowing of established rhetorics.

    Last but not least, the upcoming short story collection from Tetsuya Terao (寺尾哲也), Bullets Are the Remaining Life (子彈是餘生), is worth mentioning. Once a resident of San Francisco and a former Google software engineer, the author perfectly presents the landscapes of this professional field, as well as the background of Taiwanese nationals who reside in the States. There are three other elements that bring attention to this author’s writing: first is his style – he writes in a cold, piercing, yet concise and moving way, making the reading experience fast and pleasurable; secondly, in contrast to general assumptions, queer people who work in engineering and earn high salaries, don’t necessarily have easy lives. They might feel lonely in this elite environment with such high pressure. Scenes of queer people who died by suicide, who had suicidal thoughts, and who lived with the memories of other queer people who died by suicide appear frequently. The sense of despair isn’t to overly evoke emotions, but to be understood as “a state of mourning”, which gives it an even more profound meaning. Third is the profound existence of queer desire, and how it is never strengthened despite any positive feedback and experiences. Sexual enlightenment or sexual awakening, despite bearing the nature of humility, setback, and void, is still a part of the desire. Therefore, the queer community that is brought out by Tetsuya Terao, also joined the literary tradition that never gives up on “individuals who fell apart”.

  • New Steps for the Development of Taiwanese Queer Fiction (I)
    Aug 08, 2022 / By Chang Yi-Hsum ∥ Translated by Jenna Tang

    Looking at the genre, Taiwanese queer poetry is gaining force; as for fiction, there is no shortage of great works; as for essays about coming out of the closet, they picked up the rhythm slightly later – the queer essay collection Thorns and Waves (刺與浪) didn’t get published until 2022. Scripts started with Tian Chi-Yuan (田啟元), with some established styles, and Chien Li-Ying (簡莉穎) is one of the most compelling authors. In addition, the photography book Hand in Hand, Together  (拉拉手,在一起) incorporates photography and many queer communities’ personal statements. In the same genre of works that focus on this social movement and its course of development to strive for the equal marriage rights between 2016 and 2019, is The Calm After the Storm (雨過天青). Movie director Huang Hui-Chen’s (黃惠偵) The Priestess Walks Alone (我和我的T媽媽) bears significant importance: it is a moving confession from an adult daughter whose mother identifies herself as lesbian. In the following report, I have selected a few queer novels to focus on:


    Starting from 1997, Taiwan began to establish a university major in Taiwanese literature. This development was perceived as a means to preserve Taiwan’s languages and history, but was thought of less as being related to creative works, or even to advocacy for queer writings. If one wanted to learn more about queer culture, after the ‘90s – majoring in English, American Literature, or other Foreign Language Literature was the primary option.

    After 2017, new changes and literary phenomena made us look back to the turning points in 1997. First of all, Yang Shuang-Zi’s (楊双子) two novels, Seasons of Bloom (花開時節) and Taiwan Travelogue (台灣漫遊錄), are about the female queer stories that took place during the Japanese colonial period in Taiwan. The author had a firm grasp of Taiwanese history, causing queer literature, which is oftentimes introspective, to suddenly gain a unique sense of space. Lin Hsin Hui’s (林新惠) short story collection, Human Glitches (瑕疵人型), is interwoven with horror, bringing in objects and sci-fi writing to deconstruct the established gender disciplines. One of the stories in the collection, “Cover Up” (虛掩), was selected as a main source text for adaptation for the 2020 Taipei Golden Horse Film Academy’s final presentation. Ho Wen-Jin’s (何玟珒) That Day, We Searched Our Ways Behind a Chicken Butt (那一天我們跟在雞屁股後面尋路), on the other hand, is a work without any reservation, which embraces the queerness and the interactive dialectics of Taiwanese literature and history. The tradition of “換斗 changing stars” (a ceremony performance in which people change the gender of a fetus) is compared with transgender surgery: the former is the changing of gender under others’ expectations, while the latter is a personal decision – showing an excellent ability for criticism. Besides all this, the author has solid comedy skills. The sharpest section of this novel was the part that precisely reveals under which circumstances will queer memories be erased.


    Read On: https://booksfromtaiwan.tw/latest_info.php?id=179

  • For Readers, Publishers, and Authors, E-Book Is a New Choice
    Jul 07, 2022 / By Wolf Hsu ∥ Translated by Jenna Tang

    Reading is one of the simplest ways to solve our doubts, learn new knowledge, experience different lives, and entertain ourselves. As a reader, I keep thinking about how the most ideal publishing market is one that will be able to satisfy all the needs mentioned above – no matter how obscure the information I am looking for, or how strange the stories I love – I hope I can always find the book I need most at the moment.

    However, we can look at it in a different way. As someone who has been working in publishing for so many years, I understand such a goal isn’t easy to achieve. There are three main reasons.

    First, it is about the size of the market. The act of publishing is full of cultural significance, but it is also a straightforward commercial transaction. Most published products are intended for the consumer market. The amount of books purchased by readers will directly impact publishing records. Looking at the publishing records based on Taiwan’s National Central Library’s annual number of ISBN applications: during relatively slow periods, Taiwan’s book market published around 36,000 books (2020), while at its peak over 57,000 books have come out (in 2021, including a growing number of eBooks and audiobooks). Neither of these numbers include books that were self-published, or paperbacks and eBooks that were published without an ISBN. Ruling off the exam preparation books and potentially overlapping books (the title with separate ISBNs for paperback and eBook form), every year, there are around 30,000 books being published in Taiwan, which shows the publishing houses’ intention to satisfy the diverse and niche tastes from the readers. However, these books mostly lack marketing resources. If readers didn’t actively search for these books on their own, it would be hard for them to simply stumble upon them. In the meanwhile, if sales figures aren’t as high, the publishing house will lose profits to support the company, making them less willing to publish these types of books.

    Another thing is, the publishing industry itself can be experimental. In fact, most commercial transactions that attempt to push creative works into the consumer market are all somewhat experimental. An experienced person working in publishing can normally foresee how many copies will be sold. However, the market variables can be extreme; bestsellers are usually underdogs that people don’t have much expectations for. What happens often is that the sales figures don’t reach their goals.

    No matter what the circumstances, a title without viable sales figures will put pressure on the publishing house – books still in stock are the third obstacle that keep the publishing market from becoming more diverse. Books that are still in stock take up space and cost extra storage rental for the publishing house. Not only are these books unable to generate profits, they actually increase overhead costs for the publisher. If a title isn’t selling well, the profits of the book may already have been completely depleted by the cost of the storage rental before the expiration of the first license period. If a title has very few books left in stock and the publishing house is considering reprinting or producing another edition, the staff also need to consider the space they have for books remaining in stock: most reprinted books no longer produce the same marketing plan as the first printing, so sales may be slow compared to a new title. Although the cost of reprinting the same title might be lower, the cost of storage rental for the remaining stock doesn’t change. Therefore, if a publishing house is feeling uncertain about the sales performance of a book, they might choose not to reprint the title, which means that the readers who are in search of the book will not be able to find them anymore.

    Of course, these factors are mostly relevant to most traditional paperbacks – the number of copies in print and the cost of storage rental have to be seriously considered if a publishing house is producing paperbacks. This is where eBooks can help relieve the burden.

    To take my own books as example, both my novels The Pretender and What A Wonderful World​​​​​​​ skipped the traditional paperback publishing process and were instead published directly as eBooks. These books had been originally drafted on word processors and saved as digital files. It wasn’t difficult to convert them into the most commonly used EPub3 format. I also designed and drew the cover myself. Taiwan’s Readmoo application is the biggest platform for books published in traditional Chinese on the island. It is also a very convenient shelf system. I can update the title to the latest version at all times, and I am able to check the sales figures on my own. The paperback of my short story collection Fix went out of stock in 2021, although the TV series rights and the comic adaptation rights had been sold and both productions were in progress. After serious consideration, the publishing house decided to wait for the transition and the finalization of both the TV series and the comic before reprinting them. Since then, Fix has changed publishers and now has been released with additional content. During the period when the paperbacks were out of stock and before the new edition was released, eBooks became a very powerful way to balance the sales figures.

    By solving these issues with efficiency, the publishing market will be able to keep publishing diverse titles. Therefore, for readers, publishing houses, and authors alike, eBooks are a great way to boost the visibility of various titles. For the book market in Taiwan, it is especially important to invest more in producing eBooks.

  • Grant for the Publication of Taiwanese Works in Translation (GPT)
    Apr 01, 2022 / By Books from Taiwan

    GPT is set up by The Ministry of Culture to encourage the publication of Taiwanese works in translation overseas, to raise the international visibility of Taiwanese cultural content, and to help Taiwan's publishing industry expand into non-Chinese international markets.

    Applicant Eligibility: Foreign publishing houses (legal persons) legally registered in accordance with the laws and regulations of their respective countries.


    1. The so-called Taiwanese works must meet the following requirements:

    A. Use traditional characters
    B. Written by a natural person holding an R.O.C. identity card
    C. Has been assigned an ISBN in Taiwan
    i.e., the author is a native of Taiwan, and the first 6 digits of the book's ISBN are 978-957-XXX-XXX-X, 978-986-XXX-XXX-X, or 978-626-XXX-XXX-X.

    2. Applications must include documents certifying that the copyright holder of the Taiwanese works consents to its translation and foreign publication (no restriction on its format).

    3. A translation sample of the Taiwanese work is required (no restriction on its format and length).

    4. The translated work must be published within two years, after the first day of the relevant application period.

    Grant Items:

    1. The maximum grant available for each project is NT$600,000, which covers:

    A. Licensing fees (going to the copyright holder of the Taiwanese works)
    B. Translation fees
    C. Marketing and promotion fees (limited to economy class air tickets for the R.O.C. writer to participate in overseas promotional activities related to the project)
    D. Book production-oriented fees
    E. Tax (20% of the total award amount)
    F. Remittance-related handling fees

    2. Priority consideration is given to books that have received the Golden Tripod Award, the Golden Comic Award, or the Taiwan Literature Award.

    3. The grant will be given all at once after the grant recipients submit the following written documents to the Ministry within one month of publication:

    A. Receipt (format given along with the Ministry's formal announcement);
    B. A detailed list of expenditures;
    C. 10 print copies of the final work published abroad (if the work is published in an e-book format, grant recipients shall instead provide purchase authorizations for 10 persons);
    D. An electronic file with aforementioned documents in PDF.

    Application Period: Twice every year. The MOC reserves the right to change the application periods, and will announce said changes separately.

    Announcement of successful applications: Winners will be announced within three months of the end of the application period.

    Application Method: Please visit the Ministry’s official website (https://grants.moc.gov.tw/Web_ENG/), and use the online application system.

    For full details of the GPT, please visit https://grants.moc.gov.tw/Web_ENG/PointDetail.jsp?__viewstate=oRWyc5VpG+PNII1HENWzEl8qiFfwAwJw7oJCOHz4L408lIe/efs7z+WTtc3mBJBkYvZhpy/Mg9Q=

    Or contact: [email protected]

  • How Children's Book Publishers in Asia Are Fighting the Pandemic (II)
    Dec 23, 2021 / By Alice (Readmoo) ∥ Translated by Sarah-Jayne Carver

    Read Previous Part: https://booksfromtaiwan.tw/latest_info.php?id=174


    Children’s Book Markets by Country: The Proportion of Local vs Foreign Titles

    At the moment it seems like most children’s books in Taiwan are translated titles, but Su Shin also wanted to note that in the last five years there has been a steady increase in the number of local children’s book authors and illustrators. In 2019, nine Taiwanese illustrators were selected to display their work at the Illustrator’s Exhibition at the Bologna Children’s Book Fair, which was a new record for Taiwan. This year, Lin Lian-En’s picture book Home won the 2021 Bologna Ragazzi Award for Fiction, and Animo Chen’s picture book Love Letter which was written in Taiwanese received a special mention for the 2021 Bologna Ragazzi Award for Poetry. These internationally recognised awards are not only a boost for Taiwanese creators but also bring increased visibility and publishing opportunities. Su Shin also candidly acknowledges that in reality these awards might not necessarily translate into sales: “Ultimately, is it more important for a book to be a bestseller or to be publicly lauded? Even at this stage, we still can’t avoid that struggle between critical acclaim and book sales.”

    In Thailand and Vietnam, the majority of children’s titles are translated books. “The proportion of original Vietnamese books is about 20-30%, with translated books accounting for nearly 70% of the market. The main reason is that it’s hard to find professional Vietnamese children’s writers.” Take picture books for example, the author has to co-create with an illustrator but since most illustrators in Vietnam work part-time or are moonlighting: “It takes a long time to create children’s books and it doesn’t generate much income.” Therefore, most children’s books in Vietnam tend to be translations of foreign titles. The same is true in Thailand, where over 80% of children’s books are translated titles. In the past, they have been published in co-edition with European publishers which not only reduced production costs but also served as professional guidance for Thai publishers by giving them the chance to collaborate with a lot of highly-skilled children’s book printing specialists.

    By contrast, translated books account for a smaller proportion of Indonesia’s publishing market, and the number of translated children’s titles is even smaller still. “Many local authors are very keen to interact with fans on the internet which makes marketing and publicising their books relatively easy, whereas translated works are never quite as effective at achieving this as their local counterparts.” Editors at Indonesian publishing houses often find picture book creators who have already a certain number of fans on social media and invite them to publish a physical book. Generally speaking, the market response is pretty good. Adapting books for the screen and selling the rights to streaming platforms is one of the ways they can promote local Indonesian books. “We actively contact domestic production companies as well as trying to sell international translation rights, but for the most part we tend to sell them to domestic production teams.” Filming brings the text to life on screen, making it more vivid with new layers of storytelling. In addition to Netflix, there are local Indonesian streaming platforms that bring great stories to readers.

    The children’s publishing market in South Korea is also dominated by local books. “In the past, domestic and foreign titles used to be a 50/50 or 60/40 split, but recently over 90% of books have been written by local authors.” There are two South Korean organisations that are investing resources in local authors, in particular the Publication Industry Promotion Agency of Korea (KPIPA) is there to assist translators, plan book fairs, and contact foreign publishing houses. They are one of the most important advocates for selling South Korean works overseas, and readers from neighbouring countries such as Japan, Taiwan, China and Vietnam are all very fond of Korean children’s books. Within South Korean children’s books, young adult novels have sold especially well and in recent years there has also been a significant increase in sales of Japanese books about economics targeted at middle school students. “Soaring stock prices, Bitcoin and so on have become hot topics in the last few years which has made parents hope that their children can learn how to use money from an early age.” It might seem unfathomable that middle school students would be studying economics but financial investment has been a popular subject in general over the last few years. For example, 25% of the books on Taiwan’s bestseller charts last year were related to personal finance.


    How Do You Detect Trends and Decide When to Follow Them?

    By chance, all eight publishers agreed that social trends and readers’ needs were their main points of reference when publishing a book. “Often, readers are hoping that a book will help them solve their problems, so it’s absolutely crucial to understand the difficulties people are facing.” For example, at the beginning of this year Thai publishers found that popular science books were doing very well. Meanwhile in Vietnam, publishers feel that the “loneliness economy” is an area that can developed further given that industry has already seen readers gravitate towards loneliness-related books about managing moods and healing anxiety. Brick-and-mortar bookshops, book reviews and the fluctuations of online bestseller lists are all equally important observation points, while social media is a crucial tool for grasping popular societal trends. As the various forms of book promotion become more and more diverse, “It’s imperative that publishers keep observing trends, and that they create new trends of their own.”

    At the end of the roundtable discussion, the publishers couldn’t help reminiscing about the warmth of talking in-person at physical book fairs. In particular, Taiwan and Indonesia both felt as though they lacked a unified central platform like South Korea’s which serves as a channel for fielding inquiries. For many of the local children’s books that have already been translated, it feels like the only way for people to find out about them is at or around the book fairs, and a lot of books are difficult to promote without physical book fairs. For the Summer Edition of this year’s Taipei Rights Workshop, The Grayhawk Agency used Gather Town to build a virtual space which international delegates could “visit”. Some of the publishers candidly stated that it was much easier to use and far more interesting than Frankfurt Book Fair’s digital rights portal, but it’s only natural that as publishers around the world continue to solider through this pandemic with no end in sight, we still look forward to a future where we can meet in person to listen and talk about all the great stories that deserve to be read.

  • How Children’s Book Publishers in Asia Are Fighting the Pandemic (I)
    Dec 23, 2021 / By Alice (Readmoo) ∥ Translated by Sarah-Jayne Carver

    (This article is a condensed version of one originally published at Readmoo: https://news.readmoo.com/2021/07/20/taipei-rights-workshop-2021/)


    “Over the last few months, I think children’s books have been something of a survival tool for parents stuck at home and a major way for them to connect with their children,” says Gray Tan, founder of The Grayhawk Agency, in his welcome speech for the 2021 Taipei Rights Workshop, Summer Edition, co-hosted by The Grayhawk Agency and Taiwan Creative Content Agency (TAICCA).

    This was the fourth session of the summer edition of Taipei Rights Workshop, but due to the pandemic the roundtable discussion was hosted online for the first time. The eight children’s publishers who were invited to participate had a wealth of industry experience and included: Supawee Supatit, foreign rights executive at Amarin (Thailand); Purichaya Asunee Na Ayuttaya, rights editor at B2S Co. (Thailand); Nguyen Thi Ha, rights executive at Thai Ha (Vitenam); Phan Thanh Lan, rights executive at Kim Dong (Vitenam); Yuliani Liputo, rights executive at Mizan (Indonesia); Shera Sihbudi, rights executive at Noura (Indonesia); Ally Bang, rights executive at Changbi (South Korea); and Su Shin, special assistant to the chairman of B.K. Agency (Taiwan). Together, their frank discussion focused on how the pandemic has impacted their respective book markets, as well as on the proportion of local or translated works in each market and what selling rights is like behind the scenes. Even though the pandemic prevented us from having the chance to get together in person, the children’s book publishers of the Milk Tea Alliance (an online democracy and human rights movement consisting of netizens from Taiwan, Hong Kong, Thailand, Myanmar, Indonesia and South Korea among others) were still able to gather online and share their insight on fighting the pandemic.


    Publishers Fighting the Pandemic: The Rise of Shopee, Using Pre-orders to Determine Print Runs, and Curated Livestreams to Interact with Readers

    “As readers turned to purchasing books online, e-commerce site Shopee has started to become more important. Many of the book fairs have also been held online,” said Su Shin. This was a situation that a lot of countries’ book markets faced during the pandemic. Taiwan had the pandemic well under control during its early stages but in mid-May 2021 restrictions were escalated to Level 3 which was a hit to physical bookstores, especially independent bookstores who really bore the brunt of the new rules. Staying home long-term has led to an increase in book sales for certain genres: “Self-help books, books about exercise, and children’s books have responded particularly well, and recently we’ve also seen an increase in sales of colouring books and children’s study aids.”

    “Ultimately, we always have to find something for the children to do.” The same situation occurred in Indonesia where a third wave of the pandemic broke out last month and physical channels for book sales halted business one after the other, forcing publishers to switch to online platforms and hold virtual storytelling workshops to reach readers. “Some publishers have official online stores on Shopee, and they’re finding that children’s board books, story books and picture books are all extremely popular.” However, inevitably most book sales are still suffering and the sales for new titles are so much lower that a lot of publishing houses in Indonesia are starting to offer the book as a pre-order one month before publication and then only print copies after confirming the number of pre-orders.

    It’s a very similar situation in Vietnam. In response to the pandemic, there has been an increase in sales of health-related titles and children’s books. High school students have been particularly drawn to comic books that come with tasteful free gifts and the students are happy to buy the comics with their own money. Shopee plays an equally important role in both Vietnam and Thailand’s book markets. Thailand’s previous pandemic response meant that the book market remained relatively stable, but sales have declined since a new wave of infections broke out in March and publishers have needed to rely on more diverse forms of online marketing and livestreaming. However, the restriction of physical publicity events has led to reduced visibility for new writers. Literary works have been a favourite of Thai readers during the pandemic and they’ve been particularly keen on romance novels, perhaps as a source of comfort during this period of public anxiety. Children’s books have also been a saving grace and parents have been willing to order them online.

    In South Korea, even though the scale of offline activities has been small, online book fairs have been extremely active. “Kobo, the largest publishing house in South Korea, increased its book fair activities by 17% and saw a 30% increase in online sales, but by contrast they only saw a 0.7% increase in sales from physical bookstores,” said Ally Bang. With children’s books, it can help sales immensely if a teacher includes a book in their recommended reading materials.


    Read On: https://booksfromtaiwan.tw/latest_info.php?id=175

  • The 12th Golden Comic Awards: A Guide to Taiwan’s Unmissable Comics Extravaganza (II)
    Dec 23, 2021 / By Chi-An Weng ∥ Translated by Sarah-Jayne Carver

    Read Previous Part: https://booksfromtaiwan.tw/latest_info.php?id=172


    3. The Endless Possibilities of Comics

    This year’s shortlist revealed once again just how unlimited the possibilities are for comics. New opportunities are brought about by changes in the media landscape, for example San Ri Juan Zi’s self-published comic Hi, Grandpa! Being Together and Then Saying Goodbye has a lot of traits that are common in today’s web comics, such as the way it uses sincere feelings that are true to life, like those stories you read on the internet that suddenly leave you teary-eyed and heartbroken. This multimedia approach is also reflected in the nominees for Best Cross-media Application: Tong Li Publishing Co’s work on The Monster of Memory: Destiny; and Secret Whispers which was a joint venture between Chimney Animation and Fish Wang, an illustrator, animator and director who won Best Animated Short Film at the 2019 Golden Horse Awards for Gold Fish.

    The Monster of Memory was originally a comic by author-illustrator Mae and featured an ingeniously designed setting as well as a truly mind-blowing plot that was filled with metaphors of real-world relationships. It’s the sort of story that is perfectly suited to being adapted into a game as a more immersive way for readers to experience the world of the book. Fish Wang meanwhile, is known as a great all-rounder in Taiwanese comics and Secret Whispers can be seen as an “original multimedia work” because from the outset he uses different types of media to portray the teenagers’ “secrets” through different perspectives as the tension rises between them. In the future, the work might be seen as an important reference point in the development of Taiwanese comics, not just because it was set up as a cross-media project from the beginning but also because of the way it was a joint creative venture in the studio.

    In addition to the possibilities brought about by other media, a lot of graphic novels have emerged among Taiwanese comics in recent years. The term “graphic novel” has been adopted from the West and encompasses works that are deeply experimental and avant-garde. A lot of readers who have been familiar with Japanese manga from a young age can’t help but flip through graphic novels and wonder uncertainly “Is this book really a comic?” This completely new experience and the excitement it provokes are precisely what makes graphic novels so fascinating.

    A Trip to the Asylum by Pam Pam Liu was the most provocative, nerve-wracking book of the year. A fictional story about mental illness and a psychiatric hospital, the comic is an all-out sprint that thrusts you straight into the darkness of the subconscious where you have no defences and there are no taboos. Reading it is like being in a comic book version of a Lou Reed song.


    A Trip to the Asylum by Pam Pam Liu


    It is hard to think of a comic more different from A Trip to the Asylum than the nonfiction series Son of Formosa. The series is based on the life of Tsai Kun-lin, a political victim of the White Terror who published comics despite the authoritarian environment in Taiwan from 1949 to 1987. He won the Special Contribution Award at the 2018 Golden Comic Awards for his courage and perseverance in fostering the development of Taiwan’s publishing sector. For the Son of Formosa series, author Yu Peiyun conducted extensive research when writing the text and illustrator Zhou Jianxin used a range of visual methods to convey the myriad of twists and turns that Tsai Kun-lin experienced over the course of his life. It doesn’t just relay the facts but the images invite the reader to extend their imagination and in doing so the comic conveys a level of empathy that goes beyond the words of the text. Son of Formosa is a graphic novel that can be cherished as a classic both in Taiwan and internationally.  


    Son of Formosa by Yu Peiyun and Zhou Jianxin


    In this new era of comics, even the older forms of comics that followed a reliable, clear-cut path are no longer restrained by the same rigid set of standards as they once were. In addition to graphic novels, works like Illustrated Taiwan Keywords: A Hand-Drawn History of 1940-2020 by Chiou Hsien-Hsin which look like picture books or nonfiction books centred around infographics will also have an impact on what are stereotypically considered to be “comics” in the future. There is an almost unlimited number of paths an image can take, so rather than holding onto outdated beliefs of what a comic should be, both comic creators and readers alike should adopt a more open-minded approach and embrace the endless possibilities comics have to offer.



    These three points are just my suggested highlights for anyone looking at the online exhibition of this year’s Golden Comic Awards. As with any exhibition, each visitor should use their personal interests and preferences to unearth their own understanding and appreciation of the exhibits. It is also important to acknowledge the work done by editors to help bring these visual adaptations of literature and history to life. Lin Yi-Chun (Managing Editor at Locus Publishing Company) won this year’s Best Editor Award for her work on The Ren Zheng-hua Collection: Drawn to Life + The Human Bun and on Secret Whispers; while the shortlisted editors included Huang Pei-Shan and Ho Szu-Ying (Editor-in-Chief and Editor at Slowork Publishing respectively) for their work on Son of Formosa, and Tan Shun-Hsin (Editor) for her work on Fantastic Tales of Splendid Blossoms. These exhibits are all undoubtedly great works of art which deserve to be poured over by visitors. However, there are physical limitations with all exhibitions and this was no exception. With a total of 226 works registered this year it was inevitable that some talent would go unrecognised, so this exhibition should only be seen as a starting point and readers should take their initial interest a step further because there are just too many beautiful Taiwanese comics out there waiting to be read.

    Comics are a medium where stories are told through images and by using different themes or illustration styles what you are ultimately trying to achieve is a great story. Over the last few years, Taiwanese comics have produced countless great stories regardless of whether they are shortlisted for the Golden Comic Awards or not. These are stories that will make you laugh, make you cry, and at some point they might even accidentally become something that saves your life, and this, more than anything, is what I want you to know about the Golden Comic Awards and the corresponding exhibition, not just this year but in all the years to come.

  • The 12th Golden Comic Awards: A Guide to Taiwan’s Unmissable Comics Extravaganza (I)
    Dec 23, 2021 / By Chi-An Weng ∥ Translated by Sarah-Jayne Carver

    (This article is a condensed version of one originally published at opnion.udn: https://opinion.udn.com/opinion/story/10124/5846196)

    The 12th Golden Comic Awards were held on the 28 October 2021 in an annual prize ceremony that was one of the biggest events of the year in the world of Taiwanese comics. It wasn’t just about celebrating this year’s successes and highlighting everything that the industry has achieved over the previous 12 years, but it also served as a call to arms with a loose outline of how Taiwanese comics can continue to build on their existing momentum. After watching this year’s Golden Comic Awards, here are a few of what I think are the most important points to be aware of:


    1. The Triumphant Return of Several Veterans from Taiwan’s “1990s Gold Age of Comics”

    For many experienced supporters of Taiwanese comics, the glory of the golden age in the 1990s has always been something of a legend. It was an era where Taiwanese comics were besieged on all sides by a combination of piracy and long-term government suppression. A whole generation of creators used their unique skills to forge their own paths, drawing extensively on the success of Japanese manga and western comics but transforming these influences into their own distinctive styles with impervious momentum as they tried to pave a way out their oppressive environment. Even though the movement eventually dwindled due to a mix of complicated internal and external factors, that era still revealed the unlimited potential of Taiwanese comics.

    Two names that are always mentioned from that era are Ren Zheng-hua, who won this year’s Special Contribution Award, and Richard Metson, whose new title Iron Boy: Pirate Town 1 was nominated for the 2021 Comic of the Year Award. Ren Zheng-hua’s sensitive and meticulous portrayal of human nature, especially when she depicts the subtle and often imperceptible space between likes and dislikes, has always been the subject of enthusiastic discussion among her supporters. The Special Contribution Award and the republication of her comics Drawn to Life and The Human Bun have introduced a new generation of readers to Ren Zheng-hua’s writing, where she has been exploring the desires and prejudices at the core of human nature since her debut comic Sea of Devil in 1990. Known as “Uncle Mai”, Richard Metson uses his naturally eccentric talent and unique western illustration style to roam between all kinds of different subject matters and build spectacularly immersive worlds one after the other. This time around, he was here with an entirely new book which still featured his usual trademarks but also seemed to contain slightly more references to the highs and lows of reality, a reflection of his own experiences over the years.


    Iron Boy: Pirate Town by Richard Metson


    The return of several veterans to the spotlight isn’t unique to this year’s awards but is part of a recent trend that’s still developing and can perhaps be traced back to the deaths of Chen Hongyao and Chen Uen. In addition to Ren Zheng-hua and Richard Metson, many of the comic creators who were precursors to the 1990s golden age have not only republished old works but also launched new ones. It is only through this kind of cross-generational reconnection that Taiwanese comics can build a robust, long-lasting system to give future generations the strength and support to grow.


    The Human Bun by Ren Zheng-hua


    2. Increasingly Diverse Illustration Styles and Storyline Subject Matters

    When you line up all the comics selected for this year’s nominations it’s a treasure trove of work encompassing a myriad of different ideas, regardless of whether you’re looking at it in terms of source material or image composition. While it was possible to place each of these works in a certain category or genre, each comic broke new ground either through its storyline or illustration style to transcend the restrictions of the existing framework.

    Chang Sheng has diligently created science fiction for a long time. After his standalone work Nine Lives Man: Time’s Wheel made the shortlist last year, he created Yan 1, an all-new series about a female superhero where he used his distinctive brush stroke style to explore the sense of remorse which is often present in superhero stories and has been a subtle theme running through his comics since Oldman in 2013. Dutchman in Formosa (Vol. 2) by Kinono was a sequel that readers had been eagerly anticipating for five years. Kinono didn’t just take the illustrations to the next level but also replaced the previous volume’s liveliness with a more melancholy tone as the narrative focus shifted from international trade disputes to the experience of indigenous Taiwanese people under colonialism.


    Yan by Chang Sheng 


    Yuusharyaku 10 by BIGUN, Scrunchy by TaaRO, and Fantastic Tales of Splendid Blossoms by Monday Recover and Yang Shuang-Tzu all had very clear-cut attributes of genre fiction but if you looked closely at their content, you could see that each work deftly applied established components of genres in a way that made new ideas flourish within them. The techniques they used to express images and plot points meant that these works could all confidently hold their own among their respective genres both at home and abroad.

    Netherwarrant by Yuzu, The Invisibles 1 by Shin Yan, Hell Parade by Buke and The Lion in the Manga Library by Xiaodao all used awe-inspiring illustration styles to tell stories in a way that didn’t just demonstrate their incredible skills but also captured the cohesion and explosiveness of their personal styles. In every frame of every page, these four comics proved that you don’t necessarily need highbrow illustration styles to tell a great story that moves readers. Similarly, people who were fans of comics during the 1990s golden era always emphasised the diverse stories and individual styles of the illustrators at the time, so perhaps we might be unknowingly experiencing another peak in Taiwanese comics.


    Netherwarrant by Yuzu

    The Lion in the Manga Library by Xiaodao


    Read On: https://booksfromtaiwan.tw/latest_info.php?id=173