Editing Manhua

{{Short description|Chinese-language comics produced in mainland China, Hong Kong, and Taiwan}}
{{About|Chinese comics|the Chinese dialect|Manhua dialect|Korean comics|Manhwa|Japanese comics|Manga}}
{{shortlead|date=March 2024}}
{{Italic title|reason=Chinese word}}
{{Infobox comics nationality <!--Wikipedia:WikiProject Comics-->
|bodyclass  = 
|alt        = 
|date       = 
|notable publishers =
[[Tong Li Comics]], [[Ever Glory Publishing]], [[Sharp Point Publishing]], [[Jonesky]], [[Chuang Yi]], Kuaikan, ManMan, QQ Comic, Vcomic, U17, Dongman Manhua, dmzj.com, Comico Taiwan, Line Webtoon
|notable titles =
|notable people =
|notable series = [[List of manhua|List]]
|notable characters =
|lang1      = [[Chinese language|Chinese]] (written in [[Traditional Chinese characters|Traditional Chinese]] or [[Simplified Chinese characters|Simplified Chinese]])
|related articles = {{flatlist|1=
*[[Hong Kong comics]]
*[[Lianhuanhua]]
*[[Manga]]
*[[Manhwa]]
*[[OEL manga]]
*[[Manfra]]
*[[La nouvelle manga|Nouvelle Manga]]
}}
|image=Politcal Map of 19th Century China（時局全圖）.jpg|caption=''The Situation in the Far East'', an 1899 manhua by [[Tse Tsan-tai]]}}
{{Chinese
| order = ts
| t = 漫畫
| s = 漫画
| p = mànhuà
| w = man4-hua4
| j = maan6 waa6*2
}}

'''{{lang|zh-Latn|Manhua}}''' ({{zh|t=漫畫|s=漫画|p=mànhuà|l=|c=|first=t}}) are [[Chinese language|Chinese-language]] [[comics]] produced in [[Greater China]]. Chinese comics and narrated illustrations have existed in China throughout its history. 

They are usually graphic and can be written for a myriad of genres, including romance, fantasy, historical, thrillers, paranormal and horror. The storylines are varied but could include tropes and plotlines common to Asian culture and settings. 

There is no fixed word count for a manhua, but each panel could contain an average of 30 words and about 90 words per page. Though, this may vary widely. Depending on the writer and the popularity of the manhua, it could have one or several issues and can be published digitally or in a printed form.

==Etymology==
{{Culture of China}}The word {{lang|zh-Latn|manhua}} was originally an 18th-century term used in Chinese [[literati painting]]. It became popular in Japan as ''[[manga]]'' in the late 19th century. [[Feng Zikai]] reintroduced the word to Chinese, in the modern sense, with his 1925 series of political cartoons entitled ''Zikai Manhua'' in the ''Wenxue Zhoubao'' (Literature Weekly).<ref>{{cite book |last=Petersen |first=Robert S. |title=Comics, Manga, and Graphic Novels: A History of Graphic Narratives |url=https://books.google.com/books?id=Hr7aZh6oonoC&pg=PA120 |year=2011 |publisher=ABC-CLIO |isbn=9780313363306}}</ref><ref name="Lent" /> While terms other than {{lang|zh-Latn|manhua}} had existed before, this particular publication took precedence over the many other descriptions for cartoon art that were used previously and {{lang|zh-Latn|manhua}} came to be associated with all Chinese comic materials.<ref name="Wendy" />

The [[Chinese character]]s for {{lang|zh-Latn|manhua}} are identical to those used for the Japanese ''manga'' and [[Korea]]n [[manhwa]]. Someone who draws or writes {{lang|zh-Latn|manhua}} is referred to as a {{lang|zh-Latn|manhuajia}} ({{zh|t=漫畫家|s=漫画家|p=mànhuàjiā|first=t}}).

==History==
The oldest surviving examples of Chinese drawings are stone [[relief]]s from the 11th century BC and [[pottery]] from 5000 to 3000 BC. Other examples include symbolic brush drawings from the [[Ming Dynasty]], a satirical drawing titled "Peacocks" by the early [[Qing Dynasty]] artist [[Zhu Da]], and a work called "Ghosts' Farce Pictures" from around 1771 by Luo Liang-feng. Chinese {{lang|zh-Latn|manhua}} was born in the late 19th and early 20th centuries, roughly during the years 1867 to 1927.<ref name="Wendy">Wong, Wendy Siuyi.  [2002] (2001) ''[[Hong Kong Comics: A History of Manhua]]''. [[Princeton Architectural Press]], New York. {{ISBN|1-56898-269-0}}</ref>

The introduction of [[lithographic]] printing methods derived from the West was a critical step in expanding the art in the early 20th century. Beginning in the 1870s, satirical drawings appeared in newspapers and periodicals. By the 1920s palm-sized picture books like [[Lianhuanhua]] were popular in [[Shanghai]].<ref name="Lent">Lent, John A. [2001] (2001) Illustrating Asia: Comics, Humor Magazines, and Picture Books. University of Hawaii Press. {{ISBN|0-8248-2471-7}}</ref> They are considered the predecessor of modern-day {{lang|zh-Latn|manhua}}.

One of the first magazines of satirical cartoons came from the [[United Kingdom]] entitled ''The China Punch''.<ref name="Wendy" /> The first piece drawn by a person of Chinese nationality was ''The Situation in the Far East'' from [[Tse Tsan-tai]] in 1899, printed in Japan. [[Sun Yat-Sen]] established the [[Republic of China (1912–1949)|Republic of China]] in 1911 using [[Hong Kong Comics|Hong Kong's manhua]] to circulate anti-[[Qing Dynasty|Qing]] propaganda. Some of the {{lang|zh-Latn|manhua}} that mirrored the early struggles of the transitional political and war periods were ''[[The True Record]]'' and ''Renjian Pictorial''.<ref name="Wendy" />


Up until the establishment of the Shanghai Sketch Society in 1927, all prior works were Lianhuanhua or loose collections of materials. The first successful {{lang|zh-Latn|manhua}} magazine, ''[[Shanghai Sketch]]'' (or ''Shanghai Manhua'') appeared in 1928.<ref name="Wendy" /> Between 1934 and 1937 about 17 {{lang|zh-Latn|manhua}} magazines were published in Shanghai. This format would once again be put to propaganda use with the outbreak of the [[Second Sino-Japanese War]]. By the time the [[Japanese Occupation of Hong Kong|Japanese occupied Hong Kong]] in 1941, all {{lang|zh-Latn|manhua}} activities had stopped. With the surrender of the Japanese in 1945, political mayhem between Chinese [[Kuomintang|Nationalists]] and [[Communist Party of China|Communists]] took place. One of the critical {{lang|zh-Latn|manhua}}, ''This Is a Cartoon Era'' by Renjian Huahui made note of the political backdrop at the time.<ref name="Wendy" />

One of the most popular and enduring comics of this period was [[Zhang Leping]]'s ''[[Sanmao (comics)|Sanmao]]'', first published in 1935.

During the Anti-Japanese War, begun in 1937, many Chinese cartoonists, including Ye Qianyu, fled Shanghai and other major cities and waged "cartoon guerilla warfare" against the Japanese invaders by mounting roving cartoon exhibitions and publishing cartoon magazines in inland cities like Hankou.<ref>Christopher G. Rea, ''A History of Laughter: Comic Culture in Early Twentieth-Century China'', Columbia University Ph.D. dissertation, 2018, chapter 9.</ref>

The rise of Chinese immigration turned Hong Kong into the main {{lang|zh-Latn|manhua}}-ready market, especially with the [[baby boom]] generation of children. The most influential {{lang|zh-Latn|manhua}} magazine for adults was the 1956 ''Cartoons World'', which fueled the best-selling [[Uncle Choi]]. The availability of Japanese and Taiwanese comics challenged the local industry, selling at a pirated bargain price of 10 cents.<ref name="Wendy" /> {{lang|zh-Latn|Manhua}}-like ''[[Old Master Q]]'' were needed to revitalize the local industry.

The arrival of television in the 1970s was a changing point. [[Bruce Lee]]'s films dominated the era and his popularity launched a new wave of [[Kung Fu]] {{lang|zh-Latn|manhua}}.<ref name="Wendy" /> The explicit violence helped sell comic books, and the [[Government of Hong Kong]] intervened with the Indecent Publication Law in 1975.<ref name="Wendy" /> ''[[Oriental Heroes|Little Rascals]]'' was one of the pieces which absorbed all the social changes.
The materials would also bloom in the 90s with work like [[McMug]] and three-part stories like "Teddy Boy", "Portland Street" and "Red Light District".<ref name="Wendy" />

Since the 1950s, Hong Kong's {{lang|zh-Latn|manhua}} market has been separate from that of mainland China.

''[[Si loin et si proche]]'', by Chinese writer and illustrator Xiao Bai, won the Gold Award at the 4th [[International Manga Award]] in 2011.<ref>{{cite web |url= http://www.animenewsnetwork.com/news/2011-01-12/xiao-bai-si-loin-et-si-proche-wins-4th-intl-manga-award|title= Xiao Bai's Si loin et si proche Wins 4th Int'l Manga Award|date=2011-01-12|access-date= 2014-01-14|work= [[Anime News Network]]}}</ref><ref>{{cite web|url= http://www.manga-award.jp/en/index.html|title= The 4th International MANGA Award|access-date= 2014-01-14|work= manga-award.jp|publisher= International MANGA Award Executive Committee.|archive-url= https://web.archive.org/web/20140116085720/http://www.manga-award.jp/en/index.html|archive-date= 2014-01-16|url-status= dead}}</ref> Several other {{lang|zh-Latn|manhua}} have also won the Silver and Bronze Awards at the International Manga Award.

In the second half of the 2000s and early 2010s, various Chinese cartoonists began using [[social media]] to spread [[satirical]] [[Webcomics|strips and cartoons online]].<ref name="Langfitt">{{cite web|url=https://www.npr.org/2012/03/16/148695679/provocative-chinese-cartoonists-find-an-outlet-online|website=[[npr.org]]|title=Provocative Chinese Cartoonists Find An Outlet Online|last=Langfitt|first=Frank|date=2012-03-16}}</ref> Print publishing, being strictly controlled in China, is slowly being traded in for [[microblogging in China|microblogging]] websites such as [[Sina Weibo]] and [[Douban]], where {{lang|zh-Latn|manhua}} can reach a wide audience while subject to less editorial control.<ref name=tcj>{{cite magazine|url=http://www.tcj.com/chinese-web-comics-scarlet-faced-dog-and-bu-er-mia/|magazine=[[The Comics Journal]]|title=Chinese Web Comics: Scarlet-Faced Dog and Buermiao|last=Martin|first=R. Orion|date=2015-07-31}}</ref>

Despite China being a major consumer of comics for decades, the medium has never been taken as "serious works of art". R. Martin of ''[[The Comics Journal]]'' describes the Chinese outlook on comics as "pulpy imitations of [[films]]". Furthermore, China strictly controls the publishing of comics, and as a result, cartoonists faced difficulty reaching a large audience. Many cartoonists in the late 2000s began self-publishing their work on [[social media]] instead of attempting to issue paper editions. Websites such as [[Douban]] (2005) and [[Sina Weibo]] (2009) are popular venues for [[digital comic|web manhua]] and [[webcomics]].<ref name=tcj/>

The [[Taipei International Comics and Animation Festival]] celebrated the coming of a "webcomics era" in 2015. With increased [[smartphone]] usage with a younger generation, web {{lang|zh-Latn|manhua}}, [[webcomics]], and [[webtoons]] are expected to become more popular. With an increasing prevalence of Chinese-language online comic platforms, young artists have more opportunities to publish their work and gain a reputation.<ref name=Taipei>{{cite news|url=http://www.taipeitimes.com/News/taiwan/archives/2015/02/10/2003611251|newspaper=[[Taipei Times]]|title='Web comics era' is on display at Taipei show|last1=Chih-chi|first1=Kan|last2=Wei-han|first2=Chen|date=2015-02-10}}</ref> In the second half of the 2010s, [[manhwa|South Korean webtoons]] and webtoon platforms have become increasingly popular in China.<ref name="Chen">{{cite web|url=http://focustaiwan.tw/news/aedu/201708100023.aspx|work=[[Focus Taiwan]]|title=AR game, webcomics featured at Taipei comics fair|last=Chen|first=Christie|date=2017-08-10}}</ref>

In 2016, two {{lang|zh-Latn|manhua}} have been adapted into [[anime]] television series: ''[[Yi Ren Zhi Xia]]'' and ''[[Soul Buster]]''.<ref>{{cite web |url= http://www.animenewsnetwork.com/news/2016-06-09/chinese-japanese-anime-hitori-no-shita-the-outcast-announced/.103039|title= Chinese/Japanese Anime Hitori no Shita the outcast Announced|date= June 9, 2016|access-date= August 17, 2016|work= [[Anime News Network]]}}</ref><ref>{{cite web |url= http://www.animenewsnetwork.com/news/2016-08-03/studio-pierrot-unveils-soul-buster-chinese-co-production-anime-for-october/.104964|title= Studio Pierrot Unveils Soul Buster Chinese Co-Production Anime for October|date= August 3, 2016|access-date= August 7, 2016|work= [[Anime News Network]]}}</ref> Another series, ''[[Bloodivores]]'', based on a web {{lang|zh-Latn|manhua}}, will start airing on October 1, 2016.<ref name="Anime News Network">{{cite web |url= https://www.animenewsnetwork.com/news/2016-09-01/chinese-japanese-anime-bloodivores-announced-for-october/.105972|title= Chinese/Japanese Anime Bloodivores Announced for October|date= September 1, 2016|access-date= September 25, 2016|work= [[Anime News Network]]}}</ref> Another series, ''The Silver Guardian'', is scheduled to premiere in 2017.<ref>{{cite web |url= https://www.animenewsnetwork.com/news/2016-03-16/the-silver-guardian-anime-reveals-story-staff-2017-airing/.99847|title= The Silver Guardian Anime Reveals Story, Staff, 2017 Airing|date= March 16, 2016|access-date= September 25, 2016|work= [[Anime News Network]]}}</ref>

=== Taiwanese manhua ===
Taiwanese '''manhua''' has its origins during the [[Taiwan under Japanese rule|Japanese colonial period]] (1895-1945), when Taiwan was under Japanese rule. Prior to this, Taiwan produced publications combining text and images, such as illustrated novels. In the early 20th century, influenced by Japan, the first comic-style magazines appeared in Taiwan, including ''Taiwan Puck'' (1911), ''Tetsuwan Puck'' (1912), and ''Takasago Puck'' (1916), inspired by Japanese publications.<ref>{{cite book|access-date=2025-04-29 |date=2024 |first=I-yun |first2=Timeea |last=Lee |last2=Cosobea |publisher=Stockholm University Press |title=Taiwan Comics: History, Status, and Manga Influx 1930s–1990s |url=https://library.oapen.org/bitstream/20.500.12657/94538/1/taiwan-comics.pdf |volume=3}}<!-- auto-translated from Portuguese by Module:CS1 translator --></ref>

During the Japanese occupation, interest in comics grew, and publications began to include colored cartoons and satirical works. In 1921, the ''Taiwan Daily News'' began publishing a comic section, which became an important source of content for the local population.<ref name=":0">{{cite web|access-date=2025-04-29 |date=2025-03-01 |first=Mike |language=en |last=Fu |title=Taiwan comics on the rise: Local storytellers, global aspirations |url=https://www.japantimes.co.jp/culture/2025/03/01/books/taiwanese-manga/ |website=The Japan Times}}<!-- auto-translated from Portuguese by Module:CS1 translator --></ref>

After World War II, the influx of Chinese Lianhuanhua and American comics like [[Blondie (comic strip)|''Blondie'']] and [[Dennis the Menace (U.S. comics)|''Dennis the Menace'']], along with the piracy of Japanese manga, helped solidify the popularity of comics in Taiwan. In the following decades, especially after the island’s democratization in the 1990s, manhua gained recognition as a legitimate form of artistic and cultural expression.<ref name=":0" />

==Categories==
Before the official terminology was established, the art form was known by several names.<ref name="Wendy" />
{|class="wikitable"
! width=20% | English
! width=20% | [[Pinyin]]
! width=20% | Chinese ([[Traditional Chinese character|traditional]]/[[Simplified Chinese character|simplified]])
|-
| Allegorical Pictures || Rúyì Huà || 如意畫 / 如意画
|-
| Satirical Pictures || Fĕngcì Huà || 諷刺畫 / 讽刺画
|-
| Political Pictures || Zhèngzhì Huà || 政治畫 / 政治画
|-
| Current Pictures || Shíshì Huà || 時事畫 / 时事画
|-
| Reporting Pictures || Bàodǎo Huà || 報導畫 / 报导画
|-
| Recording Pictures || Jìlù Huà || 紀錄畫 / 纪录画
|-
| Amusement Pictures || Huáji Huà || 滑稽畫 / 滑稽画
|-
| Comedy Pictures || Xiào Huà || 笑畫 / 笑画
|-
|}

Today's {{lang|zh-Latn|manhua}} are simply distinguished by four categories.
{|class="wikitable"
! width=40% | English
|-
| Satirical and political {{lang|zh-Latn|manhua}}
|-
| Comical {{lang|zh-Latn|manhua}}
|-
| Action {{lang|zh-Latn|manhua}}
|-
| Children's {{lang|zh-Latn|manhua}}
|-
|}

==Characteristics==
Modern Chinese-style {{lang|zh-Latn|manhua}} characteristics is credited to the breakthrough art work of the 1982 ''[[Chinese Hero: Tales of the Blood Sword|Chinese Hero]]''.<ref name="Wendy" />  Unlike [[manga]], it had more realistic drawings with details resembling real people. Most {{lang|zh-Latn|manhua}} also comes in full color with some panels rendered entirely in painting for the single issue format.
Most {{lang|zh-Latn|manhua}} work from the 1800s to the 1930s contained characters that appeared serious. The cultural openness in Hong Kong brought the translation of American [[Disney]] characters like [[Mickey Mouse]] and [[Pinocchio]] in the 1950s, demonstrating western influence in local work like ''Little Angeli'' in 1954. Both the influx of translated Japanese manga of the 1960s and televised [[anime]] in Hong Kong also made a significant impression.

==Differences in formatting==
Depending on where they are created, {{lang|zh-Latn|manhua}} can have differences in the way they are formatted and presented. Besides the use of traditional and simplified Chinese characters, {{lang|zh-Latn|manhua}} may also need to be read differently depending on where they are from. Their original Chinese text is placed horizontally in {{lang|zh-Latn|manhua}} from mainland China and read from left-to-right (like Western comics and Korean [[manhwa]]), while Taiwanese and Hong Kongese {{lang|zh-Latn|manhua}} have the characters rendered vertically top-to-bottom and sentences are read from right-to-left (like Japanese [[manga]]).<ref>{{Cite web |last=Peralta |first=Ederlyn |date=2020-07-24 |title=The Differences Between Manga, Manhwa & Manhua, Explained |url=https://www.cbr.com/the-differences-between-manga-manhwa-manhua-explained/ |access-date=2022-06-27 |website=CBR |language=en-US}}</ref>

These are due to differences in the [[Style guide|style]] prescribed by the governments of China, [[Taiwan]], and [[Hong Kong]].{{citation needed|date=October 2020}}

==Digital {{lang|zh-Latn|manhua}}==
{{Comics navbar}}
===Web {{lang|zh-Latn|manhua}}===
Digital {{lang|zh-Latn|manhua}}, known as web {{lang|zh-Latn|manhua}}, are a growing art form in China. Web {{lang|zh-Latn|manhua}} are posted on social media and web {{lang|zh-Latn|manhua}} portals, which serve as a lower bar of entry than the strictly controlled print publication outlets in the country. Though little money is currently made through online {{lang|zh-Latn|manhua}} in China, the medium has become popular due to ease of uploading and publishing titles, color publication, and free reading access. Some popular web {{lang|zh-Latn|manhua}} sites include QQ Comic and U17. In recent years, several Chinese web {{lang|zh-Latn|manhua}} have been adapted into animated series, with some in co-production with the Japanese animation industry.

=== Webcomics ===
As [[microblogging in China|microblogging]] and [[webcomics]] were gaining popularity in China, the form was increasingly used for political activism and [[satire]]. Despite China being a major consumer of comics for decades, the medium has never been taken as "serious works of art". R. Martin of ''[[The Comics Journal]]'' describes the Chinese outlook on comics as "pulpy imitations of [[films]]". Furthermore, China strictly controls the publishing of comics, and as a result, cartoonists faced difficulty reaching a large audience. Many cartoonists in the late 2000s began self-publishing their work on [[social media]] instead of attempting to issue paper editions. Websites such as [[Douban]] (2005) and [[Sina Weibo]] (2009) are popular venues for webcomics.<ref name=tcj/> The [[Taipei International Comics and Animation Festival]] celebrated a coming "webcomics era" in 2015. With increased [[smartphone]] usage amongst a younger generation, webcomics featuring a scrollable [[infinite canvas]] are expected to become more popular. With an increasing prevalence of Chinese-language webcomic portals, young artists have more opportunities to publish their work and gain a reputation.<ref name=Taipei/> In the second half of the 2010s, [[Webtoon|South Korean webcomics]] and webtoon platforms have become increasingly popular in China.<ref name="Chen"/>

Cartoonists such as [[Kuang Biao]] and [[Rebel Pepper]] make use of the Internet to criticize the [[Communist Party of China|Communist Party]] and its leaders. Communist [[propaganda]] and figures such as [[Lei Feng]] are openly mocked on microblogs and in online cartoons, despite efforts of censorship by the Chinese government. David Bandurski, a researcher with the [[University of Hong Kong]]'s [[China Media Project]], stated that social media has "dramatically changed the environment for cartoonists [as] they now have a really good platform to find an audience." Chinese animator [[Pi San]] criticized internet companies and web portals for being "pretty cowardly" and "too sensitive", as they take on the role of first line of defense through self-censorship. Rebel Pepper's account on Sina Weibo, where he posts his satiral cartoons, had been deleted over 180 times by 2012.<ref name="Langfitt"/>

Blogging websites such as Sina Weibo are also highly censored by the Chinese government. [[Reuters]] reported in September 2013 that about 150 graduates, all male, were employed to censor Sina Weibo day and night, and automatic censors processed around three million posts per day. A research team from [[Rice University]], Texas, stated that they saw "a fairly sophisticated system, where human power is amplified by computer automation, capable of removing sensitive posts within minutes."<ref name=scmp>{{cite news|url=http://www.scmp.com/magazines/post-magazine/article/1355746/drawing-ire|newspaper=[[South China Morning Post]]|title=Drawing Ire|date=2013-11-17}}</ref> Images censored from Sina Weibo include a portrait of [[Mao Zedong]] wearing a [[pollution mask]], a photo compilation identifying the expensive watches on the wrists of supposedly low-waged local officials, and criticism on police action, censorship in education, and the [[one child policy]].<ref>{{cite web|url=https://www.buzzfeed.com/kevintang/online-comics-censored-in-china|publisher=[[BuzzFeed]]|title=14 Online Comics Censored In China|last=Tang|first=Kevin|date=2014-01-14}}</ref>

===Webtoons===
[[Webtoons]] have grown in popularity in China as another form to consume and produce {{lang|zh-Latn|manhua}} in the country thanks in part to the popularity of [[manhwa|South Korean webtoons]]. Microblogging platforms Sina Weibo and Tencent have also offered webtoons on their digital {{lang|zh-Latn|manhua}} sites alongside web-based {{lang|zh-Latn|manhua}}, several of which  have been translated into various languages. While webtoon portals in mainland China are mainly run by big internet companies, webtoon portals in Taiwan are offered and operated by big webtoon publishers outside the country like Comico, and Naver (under the Line brand).

==Economics==
Political cartoonist Liu "Big Corpse Brother" Jun had over 130,000 followers on Sina Weibo in December 2013, and Kuang Biao has his work appear both online and in various print journals.<ref name=scmp />

The [[Taiwan]]ese comics industry expects webcomics to prosper financially, though no accurate figures exist as of yet. Prize-winning cartoonists such as [[Chung Yun-de]] and [[Yeh Yu-tung]] were forced to turn to webcomics as their monthly income was too low to live from.<ref name=Taipei />

[[Beijing]] cartoonist [[Bu Er Miao]] sells her webcomic ''Electric Cat and Lightning Dog'' on Douban's [[eBook]] service for 1.99 [[CNY]] (roughly 0.30 [[USD]]). When asked about whether she makes a profit off of her webcomic, Miao described the 1.79 CNY she makes per comic sold as "an amount of money that if you saw it on the street, no one would bother to pick it up."<ref name=tcj />

==Adaptations==
The Chinese webcomic ''[[One Hundred Thousand Bad Jokes]]'' received a [[One Hundred Thousand Bad Jokes (film)|film adaptation of the same name]] released in 2014. In 2016, two [[anime]] series based on Chinese web {{lang|zh-Latn|manhua}} were broadcast: ''[[Hitori no Shita: The Outcast]]'',<ref name="ann">{{cite web |url= http://www.animenewsnetwork.com/news/2016-06-09/chinese-japanese-anime-hitori-no-shita-the-outcast-announced/.103039|title= Chinese/Japanese Anime Hitori no Shita the outcast Announced|date= June 9, 2016|access-date= September 25, 2016|work= [[Anime News Network]]}}</ref> based on ''[[Under One Person]]'' by Dong Man Tang and ''[[Bloodivores]]'', based on a web {{lang|zh-Latn|manhua}} by Bai Xiao.<ref name="Anime News Network"/> A [[Chinese animation|donghua]] series adaptation of a web {{lang|zh-Latn|manhua}} by Pingzi, ''[[Spiritpact]]'', has been released in China.<ref>{{cite web |url= http://www.animenewsnetwork.com/daily-briefs/2017-01-05/spiritpact-chinese-animated-series-japanese-dub-previewed-in-video/.110640|title= Spiritpact Chinese-Animated Series' Japanese Dub Previewed in Video|date= 5 January 2017|access-date= 5 January 2017|work= [[Anime News Network]]}}</ref> A Chinese-Japanese animated series based on ''[[Chōyū Sekai]]'' is scheduled to air in 2017.<ref>{{cite web |url= http://www.animenewsnetwork.com/news/2017-01-04/chinese-japanese-co-produced-animated-series-world-of-super-sand-box-revealed/.110604|title= Chinese-Japanese Co-Produced Animated Series World of Super Sand Box Revealed|date= 4 January 2017|access-date= 4 January 2017|work= [[Anime News Network]]}}</ref> Another series, ''[[The Silver Guardian]]'', based on ''[[The Silver Guardian]]'', premiered in 2017.<ref>{{cite web |url= http://www.animenewsnetwork.com/news/2017-02-24/the-silver-guardian-anime-reveals-main-cast-new-staff-april-1-premiere/.112662|title= The Silver Guardian Anime Reveals Main Cast, New Staff, April 1 Premiere|date= 24 February 2017|access-date= 4 April 2017|work= [[Anime News Network]]}}</ref> Chang Ge Xing, a live-action adaptation of the {{lang|zh-Latn|manhua}} of the same name by [[Xia Da]], began filming in 2019.

[[Kakao]], operating the Korean webtoon portal Daum Webtoon, has collaborated with the Chinese [[Huace Group]] in order to produce live-action, Chinese language films and television dramas based on South Korean webtoons.<ref>{{cite web|url=http://www.koreaherald.com/view.php?ud=20160314000681|work=[[The Korea Herald]]|title=Kakao to introduce webtoon-inspired dramas, films in China|last=Young-won|first=Kim|date=2016-03-14}}</ref>

==See also==
{{Portal|China|Taiwan|Comics}}

*[[Ani-Com Hong Kong]]
*[[Chinese animation]]
*[[Chinese art]]
*[[Dongman]]
*[[Hong Kong comics]]
*''[[Hong Kong Comics: A History of Manhua]]''
*[[List of manhua]]
*[[List of manhua publishers]]
*[[Taiwanese animation]]

== References ==
=== Citations ===
{{Reflist}}

=== Sources ===
; General references
{{refbegin}}
* Geremie R. Barmé. ''An Artistic Exile: A Life of Feng Zikai (1898-1975)''. Berkeley, CA: University of California Press, 2002.
* Wai-ming Ng (2003). "Japanese Elements in Hong Kong Comics: History, Art, and Industry". ''[[International Journal of Comic Art]]''. '''5''' (2):184–193.
{{refend}}

==External links==
* [http://news.bbc.co.uk/1/hi/magazine/7292158.stm When Manga meets Communism]
* [https://international.thenewslens.com/article/88234 Tales of Taiwan's Comic Artists: Persecution, Isolation and Endless Talent]
* [https://visualizingcultures.mit.edu/modern_sketch/index.html John A. Crespi, "China's ''Modern Sketch'': The Golden Era of Cartoon Art, 1934-1937"]
* [http://www.hkmemory.org/comics/ Hong Kong Memory - Comics]

{{Manhua}}
{{Animation industry in the People's Republic of China}}
{{Chinese art}}
{{Comics}}

[[Category:Manhua| ]]
[[Category:1900s neologisms]]
[[Category:Comics formats]]
[[Category:Illustration]]