Yan by Chang Sheng is now available from Titan Manga! The series centers on Yan Tieh-Hua, a Peking Opera performer on a path for revenge after being wrongfully sent to prison. Originally published in Taiwan in 2020, the manga is an action-packed read, mixing in the perfect amount of wild twists and turns to keep you invested from start to finish.
Manga Mavericks had the opportunity to interview creator Chang Sheng about his work on Yan and his creative process. You can find the full discussion down below:
What made you want to become an artist?
When I was little, I read a lot of Japanese and American comics and loved drawing in their style. I became obsessed with comics and dreamed of becoming a comic artist one day, just like many others in this field.
After graduating and entering the workforce, I landed a job at an ad agency, where creativity plays a key role. This wonderful experience taught me the value of creativity. But over time, caught up in work and pressure, I gradually forgot my childhood dream and even stopped reading comics for a while.
Fifteen years passed. Then one morning, out of nowhere, that long-forgotten dream resurfaced: Right, comics. I loved comics more than anything! But I didn’t become a comic artist as I dreamed when I was a child. I hadn’t even tried. I was 35 that year.
That’s a pretty awkward age to start chasing the dream of becoming a comic artist. If I didn’t do it then, I probably never would. So, I quit my job and worked hard to pursue this dream. I kept releasing works, and fortunately, people were willing to read them. I’m grateful that they still are.
How did you come up with the concept for Yan?
When I was a kid, my grandfather loved watching Peking opera, so I ended up watching some too, even though I didn’t really understand it. What’s fascinating is, even after all these years, some of the images kept popping up in my head: the makeup of the actresses and their performances, which blend elegance and playfulness with striking strength when wielding weapons. To me, that contrast is incredibly beautiful.
After I became a comic artist, I often thought about turning those memories into a story, but I could never quite figure out how to present it until a few years ago, when I suddenly had a wonderful idea. Many superheroes wear masks to hide their identities, but a Peking opera performer wouldn’t need one because the makeup is enough to disguise them.
That idea really hit me, and I began building the story around it.
I always like to distill a story into one core line, something I can say to readers in a sentence. For Yan, it was this: When a Peking opera actress becomes a superhero.
What was the most challenging aspect of creating Yan?
Peking opera is an old art form, and the challenge was figuring out how to make something old feel fresh in a modern setting.
Since Peking opera isn’t exactly in the public spotlight these days, I had to find a way to incorporate it into the story without making it feel forced or out of place. That’s why I decided to stretch the narrative across three decades (actually fifty years, though that’s only revealed later in Volume 2).
I started the story during a time when opera still had some visibility and moved it into the present day. I wanted to see whether this combination of tradition and modernity could spark something new.
Did you use any reference material for the fight sequences in the series?
Usually, I play out the fight scenes in my head first, imagining how each move would go. Then I research what I need, like martial arts techniques or the equipment worn by mercenaries. Once I’ve confirmed that the moves make sense based on the references, I incorporate the mercenary’s designs into the comic scenes.
What was the inspiration behind having Hiroshi Hirata create the calligraphy title for Yan?
In the early stage of creating Yan, I hadn’t signed with a publisher yet, so I didn’t have any resources. I had already decided on the title and wanted it to be done in calligraphy, but the problem was that my calligraphy was terrible.
At the time, a Japanese friend of mine happened to be visiting Taipei. One night over drinks, I brought it up. Maybe a bit tipsy, I asked, “Are you any good with calligraphy?” He said he was okay but then added, “Actually, I might be able to ask Master Hiroshi Hirata if he’d be willing to help.”
Even though we’d had quite a bit to drink, he didn’t forget. Thanks to him, I had the great honor of getting Hiroshi Hirata’s help. We video chatted so I could explain what Yan was about, and he completed a full-sized calligraphy title for me, which I later received from my friend when he came back to Taipei.
Master Hiroshi Hirata passed away in 2021. Yan might be the last calligraphy title he created. Deeply grateful, I included his calligraphy and signature seal at the end of the book as a tribute and remembrance.
What are your thoughts on Yan now being released in English?
Yan has been published in French, Italian, and Brazilian Portuguese. Compared to these languages, English is one I’m more familiar with, so I’m happy that Yan is now available in English.
I’m also really glad that Titan Manga kept the original large format, which was exactly how I wanted it to be presented. I really appreciate it.
Yan received the honor of “Comic of the Year” at the 14th Golden Comic Awards. What do you think has allowed Yan to stand out among other comics from Taiwan?
Each volume of Yan took about a year, and by the third volume, it had been three years. Volumes 1 and 2 were shortlisted for the 12th and 13th Golden Comic Awards respectively, but didn’t win. It wasn’t until Volume 3 that it took home “Comic of the Year.”
As the creator, I honestly can’t say what made Volume 3 stand out. The jury changes every year, so do the other nominees, and everyone has different preferences.
But what I can say is that Taiwanese comics have made huge strides in both quality and quantity in recent years. Every year, the competition gets fiercer. I’m truly happy Yan won with the third volume, which really meant a lot.
In your opinion, how does the comics industry in Taiwan differ from other countries like Japan and the US?
In Taiwan, the main comics market is still dominated by Japanese manga. Globally, Japanese comics are like Hollywood in the industry. In recent years, Taiwanese creators have been showing a lot more diversity and openness in their storytelling. Many younger artists are exploring new topics and pushing the boundaries of what comics can be.
What are the biggest influences on your work?
I’ve always loved comics, movies, and novels, so it’s no surprise that the things I enjoy have deeply influenced both my storytelling and art style.
There are way too many artists and works I admire to name, but if I had to pick one who really impacted me—someone I even idolize—it would be the Japanese sci-fi master Yukinobu Hoshino. His early work 2001 Nights is still my favorite sci-fi comic to this day.
Is there a specific genre that you have yet to explore in one of your stories, but would like to do so in the future?
Yes. I’d really love to try creating a work based on true stories.
What advice would you give to aspiring comics artists?
The essence of comics lies in storytelling. So, for anyone who wants to be a comic artist, I’d say learning how to tell a story through paneling and layout is more important than anything else.
Thanks again to Titan Manga for helping facilitate this interview.
