Tapping into a martial arts boom in cinemas at the time, Wong also incorporated kung fu elements into his comics. His publications became the first to integrate with pop culture, and almost all local comics have since stuck to this formula.
Hong Kong’s comic scene continued to grow during the 80s and 90s, when there were as many as 50 regular-release titles, some of which spawned hit movies such as
Young and Dangerous and Feel 100%. Circulation for a hit comic reached 100,000 and the industry pulled in annual sales of HK$18 million to HK$20 million.
“That was the golden age of manhua,” Tony Wong recalls.
Their development was retraced in a recent exhibition, Kaleidoscope
– History of Hong Kong Comics, that Lam and her colleagues presented at the Angouleme International Comics Festival, the largest event of its type in Europe.
The result of five years’ research, the show covered every facet of local manhua production – from the triad-glorifying Teddy Boy series and the light romance of the Feel 100% series of the 90s to the iconic Master Q comics of the 60s.
Grouped in six interactive walk-in sections, each covered a specific
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