The main difference between you and other artists is the ability to draw very complicated scenes from your memory, without the aid of any references or guidelines.

I was able to gain some fandom online, and thanks to their support, I was able to continue this path. But many friends and colleagues who knew me told me not to change my style and encouraged me to continue to work on the style which I was good at. When I debuted as comic book artist, many publishers recommended that I change my style to Japanese style. The position and influence that Japanese comics had not only in Korea, but in Asian market was huge. There really wasn’t much choice other than to read Japanese comics ever since I was little. How challenging it was to affirm yourself as a cartoonist? What motivated your confidence to continue on this path? You started in an industry that was already dominated by the Japanese cartoon style and the competition was rather strong. I was inspired by the works of Akira Toriyama’s Dr. I’ve always wanted to be a comic book artist ever since I was a kid, so I’ve been working towards that goal from early age. And I’ve been working with European publishers after that. After that from 2007 to 2009, I worked on economy related web comics called, “Tiger Long Tail (aka TLT)” in Naver, which is one of the major Korean web portals. I debuted in 2002~2003 with the title, “Funny Funny” in Korean comic magazine called, Young Jump. How did your career as a cartoonist get started in South Korea? Do you remember the exact moment when you discovered your interest in art?

Kim jung gi sketchbook