This is a summary of what has been collected in relation to the creation of independent comics and their development, with avatars and names withheld at the request of those involved:

Independent comics are still in a grey area, with no real targeted policy. Domestic independent comics basically have to go through informal publishing channels, through art book fairs, or e-commerce.

In fact, creators are often not afraid of the “something can’t be created” clampdown, but are afraid of “not knowing what can’t be created”, as independent comics is a grey area, no one knows where the “red line” is, and most people are constantly trying to make mistakes.

The biggest problem with independent comics is the same profit model, as most creators are still trying to make ends meet, and too few are relying on independent comics to support themselves.

Don’t get into the dichotomy of commercial and independent comics, don’t have a tendency to do so, and don’t promote the idea that “commercial comics are vulgar and independent comics are noble”.

At present, the domestic independent comic creation ecology is still mainly based on the creators’ physical power generation, and there is no mature industry model to speak of, for the time being, everyone is still exploring and experimenting. Personally, I think what is lacking is a “platform” to bring together creators and readers – such as a dedicated independent comic book award or comic book convention (not just based on art book fairs), similar to the Ignatz Awards at SPX in North America.

What is diversity? Diversity is ‘cross-media’. In today’s world, cashing in on any industry is going to be cross-media, rather than self-indulgent in its own domain. Short video cashing in is video traffic turning into shopping attention; net writing cashing in is text turning into film and television. But the national comic seems to have never crossed the circle of comics, film, and television or gamification, there are successful cases, but too few, completely do not have the universality, to put it bluntly or the realization of the channel is too single.

Through the talks, the investigators reflected on the fact that the creation of comics in China is in fact invisibly restricted, as there are no specific restrictions on what can be censored, which leads to all creations being tried on the edge again and again and trial and error. At the same time, China’s publishing policy is complex and needs to be improved and deepened by the government. Because there is no perfect system, despite the constant attempts to launch comics into anime and anime to film, it is still difficult for the creators themselves to survive on their creations, resulting in the works that consumers see often being short-lived and scattered. Referring to the case of Manga Studio, increasing the development of pan-entertainment to promote a better system is a promising move, but it also requires a whole new flow of outside introductions. There will never be a shortage of creative ideas for those working in the creative industries, they just need more support and financial backing.