When I arranged to meet Nguyễn Khánh Dương - a key author of one of Vietnam’s most acclaimed historical comics Long Thần Tướng, founder of Comicola, and the independent box office tracking platform boxofficevietnam.com, I joked that after two decades, he still carried unspoken pains deeply.
That kind of "pain" was once a viral meme in Vietnam’s comic community more than a decade ago. Though the meme quickly faded into obscurity, Vietnamese comics continued to quietly evolve, accompanied by an array of impressive creative works. Comicola, for instance, became the first comic publisher in the world to win four International Manga Awards from Japan’s Ministry of Foreign Affairs - all four awarded to works created by Vietnamese artists.
It is no exaggeration to say that Nguyễn Khánh Dương and Comicola are among the foremost figures revitalizing the Vietnamese comic scene. Over nearly two hours of conversation, Dương sketched out an insightful overview of the domestic comics industry, offering a fresh perspective on Vietnam’s cultural and creative production landscape.
More People Make Comics Than We Think
Nguyễn Khánh Dương identifies three key phases in the development of Vietnamese comics: 20 years ago, 10 years ago, and the present.
Twenty years ago (in 2004), when the Berne Convention took effect in Vietnam, foreign comics (mostly Japanese manga) could no longer be published without proper licensing. This disruption ignited a short-lived yet intense surge in domestic comic production, with several Vietnamese comic magazines springing up.
This moment revealed an unexpected truth: “There were far more people making comics than we had imagined.” “Underground” creators such as Tuấn, Oanh, and Phan Kim Thanh began to connect and collaborate.
During that period, Khánh Dương and Thành Phong sought out a group of authors featured in a youth comic magazine in Hanoi. They found a small, cramped room full of enthusiastic young artists hunched over their drawings. Despite the humble setting, the atmosphere was electric, everyone was eager to create, draw and tell stories. Of course, such passion alone was difficult to sustain over the long term.
Around 2013–2014, with the explosion of social media in Vietnam, comics found a broader audience online. This environment proved ideal for sharing comics, especially single-panel works. Publishers and book distributors began recruiting and consolidating talented artists like Lê Bích, Mèo Mốc, Phan Kim Thanh and Thành Phong - names that gained considerable popularity at the time.
Today, Vietnamese comics continue to evolve. At Comicola, in addition to Long Thần Tướng, titles like Bad Luck (by Châu Chặt Chém), Bẩm thầy Tường, có thầy Vũ đến tìm (by Vuy), Truyện ma sau 6h (by Lê Vũ Kiến Duy), and Điệu Nhảy Của Vũ Trụ (by Nachi) have garnered enthusiastic readership. Accompanying creative products within the same ecosystem have also been warmly received.
To Create Comics, Have A Story To Tell First
According to Dương, comics are not for those merely passionate about drawing. They are for those passionate about storytelling and who can draw. A writer tells stories with words. A filmmaker uses cinematic visuals. An illustrator tells stories through sequential art.
Thus, the most crucial aspect is knowing exactly what you want to do. For those who are more interested in drawing than storytelling, illustration or design might be a better fit. In comics, storytelling comes first.
At Comicola, many artists began with limited technical drawing skills, but their storytelling ability stood out. Though their first works may have appeared visually unrefined, their narratives resonated with audiences. The support they received enabled them to improve artistically over time.
Therefore, Dương insists that a compelling story determines about 70% of a comic’s success. Drawing is a skill that can be learned and refined, and talented assistants are often available to help polish the visuals.
Don’t Just Draw! Engage With Your Audience
Nguyễn Khánh Dương is confident that Comicola’s comics and associated products sell well, in part because Comicola distributes directly, allowing them to understand their readers deeply. Long-form comics that incorporate history and Vietnamese cultural elements tend to perform especially well.
Interestingly, the majority of Vietnamese comic readers today are female. Therefore, works targeting women, such as those exploring romantic or coming-of-age themes, tend to have higher commercial potential. While Long Thần Tướng is more oriented toward male readers, most of Comicola’s bestsellers lean toward female audiences.
For projects that may carry financial uncertainty, Comicola often turns to crowdfunding as a preliminary step. This model serves both as a funding mechanism and a gauge of public interest. If the audience is not sufficiently engaged, the project may be shelved immediately.
In today’s environment, creators can no longer afford to isolate themselves. Works must be shared, discussed, and promoted within a broader community. Social media offers a powerful channel to build readership and cultivate a loyal audience base.
That’s why Dương consistently advises creators to spend time not only drawing but also interacting with their readers, engaging in conversations, posting lighthearted content, and nurturing a sense of connection. This seemingly niche community often becomes the first to financially support new releases.
A Comic Book Is Just a Product, We Need To Build A Great IP
Nguyễn Khánh Dương believes the real value lies in the intellectual property (IP) - the story; while the printed comic is merely one piece of merchandise. Other derivative products, such as toys, films, and games are equally essential extensions of that IP.
In South Korea, most webtoon studios rarely accept original comic projects. Instead, they adapt successful web novels into webtoons, then expand into television, film and video games, creating a richly diversified ecosystem.
In Vietnam, this remains a nascent concept with few active players. Over a decade ago, when launching Long Thần Tướng, Comicola experimented with multiple product versions, including premium packages featuring various merchandise. The team had to personally locate plaster and resin workshops, and carefully coordinate production to achieve their vision.
Vietnam still lacks a dedicated web novel platform. This year, Comicola is partnering with other organizations to build one, aiming to complete their ecosystem and allow creators to earn a living through their IP.
Vietnamese Comics Might Not Yet Have A Unique Style, But Just Keep Drawing
Most Vietnamese comic artists are heavily influenced by Japanese manga—titles like Doraemon and Dragon Ball were their formative reads. This is not unique to Vietnam; similar patterns exist in China, Korea and Thailand.
However, these countries which have great government support for young creators have led to a growing pool of domestic talent and, eventually, the emergence of unique artistic styles.
So how does one establish a distinct Vietnamese comic style? That question has been around for 10 or 20 years. The answer lies in having a critical mass of comic artists. At present, the number of professional comic creators in Vietnam remains small compared to neighboring countries.
Moreover, when comparing Vietnam’s domestic comic market to that of Japan, we are still in our infancy. The emergence of a distinctive style will depend on market expansion and increased support for local creators. Until then, it’s okay not to have a unique style. Just keep creating.
Hide Your Failures, Face The Challenges, But Keep Going
Over his 20+ years in comics, Nguyễn Khánh Dương has encountered his share of setbacks and angry criticism. The most notable came during the crowdfunding campaign for Long Thần Tướng, when the team faced an onslaught of harsh comments. Detractors sneered, claiming, “Comic artists only need bread and water,” “Why would a comic need that much money?” or “Artists begging for money again.”
But beyond this negativity was a groundswell of global support from comic readers. In two months, the team raised 330 million VND. The campaign not only funded Long Thần Tướng but also marked a turning point for the Vietnamese comic industry, as the first comic published via crowdfunding.
After publication, the comic received prestigious international awards, and several film production companies expressed interest in adaptation. However, negotiations fell through due to high production costs and uncertain box office returns. Dương posed a counter-question: “How many billions would it take for Vietnam to make a historical film like Long Thần Tướng?” No answer came.
Back in 2016–2017, box office revenue figures were self-reported, and the media had no choice but to accept them. Dương felt something was off, so he launched a website and fan page to publish transparent data. This initiative became Box Office Vietnam.
Film companies accused him of disrupting the market. Some claimed he was anonymous and spread false data. One even filed an official complaint in 2019.
Yet today, though still a personal project, Box Office Vietnam reports revenue figures with 95–96% accuracy. This is the result of two to three years of persistent work and countless phone calls. The platform is now widely referenced by the media and the public.
Meanwhile, Comicola has published works by over 100 authors in its tenth year and cultivated a user base of more than one million Vietnamese culture and entertainment enthusiasts. The company accounts for over 85% of the domestic comic market by Vietnamese authors.
Such success demands more than passion. The core team at Comicola continues to nurture a childlike curiosity—asking questions, exploring new ideas, and embracing a lifelong commitment to the art of comics.