Shen Boyang talks about ACGN industry: Culture is a way of life, not an election prop

◎ Shen Shihong

The most common way for politicians to talk about comics or games is to take a cosplay photo, call out the title of the work, and then put the word "young people" in the promotional materials. However, to truly understand otaku culture, you need to know the theme and meaning of the work, as well as how the creator lives, how the work is published, performed, and disseminated, and how to form a long-lasting industry.

Politicians and the animation, games and light novel industries

The "2026 Boyang, Elected" signature board is hand-drawn by Taiwanese girl cartoonist Chen Hanling in the style of Neon Genesis Evangelion. (Authorized from @yankikikikikiki social platform "Threads") Shen Boyang's relationship with Animation Comics, Games and Light Novels (ACGN) did not start in preparation for the election. In 2019, when he was being interviewed before he became a legislator, the computer tablecloth in his office was already "Final Fantasy" and there were more than a dozen "Neon Genesis Evangelion" posters hanging in his home. As of this year, his legislative laboratory is still filled with dolls, models and battle tops. The traces left by time and reality are more convincing than any speech.

What's even more special is that when he talks about his works, he doesn't stop at his interests. Shen Boyang likes Shinji Ikari from "Neon Genesis Evangelion" the most. He reads about the hesitation of young people when facing relationships, expectations and systems. When playing RPGs such as Pokémon with his daughter, he understands it as a "big storybook" that can be participated in together, and discusses the values ​​behind it through the characters' motivations and choices. For those who have been immersed in ACGN for a long time, works are a way to understand themselves and others.

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As a lawyer who also engages in literary creation under the pseudonym Hidehiro, I am particularly concerned about this. Behind animation, comics, games and light novels, there is a long and intensive labor of writers, screenwriters, artists, editors, translators, programmers, artists and publishers. If policymakers truly understand works and industries, they will be more likely to understand that what creators need are venues, access, copyrights, talents, investment and stable opportunities to be seen by audiences.

Long-term management of cultural space as a way of life

Shen Boyang advocates that culture is a way of life. He also mentioned that the underground cultural creative base of Longshan Temple should not be seen only during specific activities. Cultural spaces should consider long-term management from the beginning of urban design. His idea of ​​a parent-child travel card incorporates reading and local bookstores into cultural life. These ideas are worthy of recognition, because ACGN needs a sound ecosystem rather than just being a temporary backdrop for the political stage.

Shen Boyang advocates that culture is a way of life, and once mentioned that the underground cultural and creative base of Longshan Temple should not be visible only during specific activities. (File photo) Admittedly, liking ACGN does not mean having a complete blueprint for cultural policy. It also requires more specific discussions on comic book publishing, animation production, game investment, IP licensing, creators’ labor conditions, and international export. Taking Shen Boyang as the starting point, I hope that all candidates will take this step. When decision-makers begin to understand ACGN, the value behind it is not who recognizes what works, but whether they can make the next brand, next work, and next character sprout in Taiwan.

(The author is a lawyer/writer)