Recently, the annual “Hong Kong Animation and Game Festival” has just concluded, drawing the attention of audiences who love Japanese animation and support local creations. A work worth noting is the currently popular anime “Brave Party” Season 2, where the name of a Hong Kong comic artist quietly shines – he is Sun Weijun, a creator who has gained recognition after thirty years of dedication. From a childhood version of “Doraemon” to venturing into the world of Japanese animation, he has used each stroke to prove that Hong Kong comics still hold promise.
Sun Weijun, 55 years old this year, known by the pen name “Ya Sun,” has aspired to become a comic artist since he was young. His first work, drawn on A4 paper in first grade, was inspired by his adoration for “Doraemon.” Despite those childhood sketches no longer existing, the spark of creativity has never faded. Recalling those early days, he said, “Those drawings were completely replicas of the characters from Doraemon.”
As he grew up, he enrolled in a creative arts college with a major in film. After graduation, he worked as an illustrator at an advertising company, drawing illustrations and storyboards, but felt limited creatively. He confessed, “They tell you what to draw and how to change it.” In 1995, he decided to participate in a comic contest organized by a cultural communication company and ultimately won the championship. The inspiration for his winning piece came from the concept of “time-space loop” by Fujiko F. Fujio, which not only inspired him but also became the “Door to Anywhere” that opened the world of comics for him.
However, venturing into the industry did not guarantee smooth sailing. He experienced a career low and even considered returning to the advertising company. Just as he was preparing to retrace his steps, a comic company contacted him and offered him a job. He chose to persist in his dream, saying, “How could I give up on the thing I’ve loved doing the most since I was a child?”
While outsiders may view drawing comics as an easy job, Sun Weijun describes himself as a “construction worker” – working from Monday to Saturday, drawing from morning till night, with little time to rest except for meal breaks. He admitted that this creative pace was “a bit terrifying,” but he still enjoyed it. To maintain the quality of his serializations, he has always maintained high productivity and a meticulous attitude towards his art, never slacking in his style.
Since his debut, his works have been published in various publishing houses, including “Cultural Communication,” “Ching Win Publishing,” “Dongli,” and even in mainland China’s “Dong Ri” and Tencent platforms. His most well-known work is the long-running comic series “Feng Shen Yanyi,” serialized in “Co-co!” from 1997 to 2000. This work combines cyberpunk style with ancient elements, reconstructing a world of gods and demons that captivated fans with its visual impact. It was published simultaneously with a work of the same name by the Japanese artist Ryuu Fujisaki, sparking discussions in the community.
Throughout his creative journey, Sun Weijun continuously evolved. He transitioned from traditional hand drawing to digital creation, teaching himself to use specialized comic software, enhancing the detail of his artwork and significantly improving efficiency. He joked that he now feels pressured when working on paper and pen due to the precision required, while digital tools offer the freedom to correct mistakes.
In recent years, he accidentally ventured into the world of animation. Initially creating self-made animation openings online for entertainment and sharing clips of his old work “Feng Shen Yanyi,” he unexpectedly caught the attention of a Taiwanese animation company, inviting him to participate in a joint animation project with Japan. Starting from scratch with no knowledge of animation production, he gradually learned the ropes and now handles key animation, in-between frames, and even serves as a chief animation supervisor. Without his passion for comics, he could not have persevered for so long.
Sun Weijun’s creative career mirrors the rise and fall of Hong Kong comics. He witnessed the golden era in the 1990s when works like “Young and Dangerous” and “Storm Riders” dominated Hong Kong, followed by the digital wave that led to a decline in comic magazines and the circulation of original Japanese comics online, leading to a downturn in the Hong Kong comic market. He criticized some predecessors who focused solely on property speculation and were unwilling to nurture new talents: “The previous generation of comic artists only cared about profits; comics were seen as merely tools for making money.”
Nevertheless, he still believes that Hong Kong comics are not dead. “Creating a path through our own efforts” has become the only way out for the new generation of comic creators. He encourages young creators to participate in competitions, fearlessly face failure, engage in social media platforms, and self-promote, emphasizing, “Even if it’s for free, at least let people see it.” He firmly believes that as online payment platforms mature, audiences will be willing to pay for quality content, allowing Hong Kong comics to find their own space to thrive.
Reflecting on his journey, he said, “Don’t count on success; it’s not guaranteed. The key is to walk that path, experience and learn from it – someday, when you look back, you’ll say, ‘Fortunately, I chased my dreams.'”
Sun Weijun has proven through his own experiences that walking the path of drawing, despite its challenges and solitude, as long as one holds onto the brush, they can continue forward, exploring freely in the “Door to Anywhere” of Doraemon. #