Abstract

This article traced the cartoonist 's cartoon recognition through Choi Young - su, who painted many cartoons during the colonial period. Those who drew comics during the 1930s did not receive social acclaim, and they drew comics as a journalist. The journalist Choi drew many comics and cartoons of various genres, such as children’s comics and manmun-manwha. He also published his own theory of comics. Choi was fully responsible for the success of major journalistic newspapers, such as Dong-A Ilbo, Shin Dong-A, Shin Gajeng, and he was a leading figure in the 1930s. This article is based on the fact that comics and theory of comics developed by Choi Young-soo's are basic data for analyzing the features and status of comics in the colonial period. Choi Young-soo witnessed the importance of conversation in journalism while studying in Japan. After getting hired by Dong-A Ilbo, he shortened the text of comics and emphasized the importance of painting. He emphasized the importance of painting instead of text. Also he published Seo Jung-hwa(is called “Jojouga” in japanes) for female readers and expanded the reader through various types of tests. Choi Young-soo argued that comics should reinforce the spirit of cynicism unlike before. In 1938, he published a cartoon magazine without a cartoon. This is a magazine that portrays the world of satire he regarded as the essence of art. Since 1945, professional cartoonist, or a full-time cartoonist, have emerged. As aforementioned, prior to 1945, most cartoonists worked as journalists and drew cartoons on the sideline. Therefore, it is hard to find traditional studies of cartoon and comics in the Japanese Colonial Era. However, comics written during the period established a basis for Korean cartoons(manwha) and the identity of the Korean comics. Choi Young-Soo occupies an important position at this point.