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" Aeni " is South Korean Animation.

Aeni nominally began with a commercial for Lucky Toothpaste in 1956. However, it is usually agreed that it really began with the production of Hong Gil-dong , the country's first animated feature by Shin Dong Woo of the Shin Dong Hyun brothers (S. Korea's answer to Walt and Roy Disney).

South Korea finally entered the world of first color animation feature with the release of Hong Gil-dong , produced by Seki Production and directed by Shin Dong-Heon on January 21, 1967. Adapted from the Hong Gil-dong the Hero comic strip by Shin Dong-won, Hong Gil-dong achieved tremendous success during its initial premiere in 1967. The film's success sparked public interest in S. Korean animation. Though after one more film, the Shin brothers' success ended due to a dispute with their distributor.

Prior to the release of Hong Gil-dong , there were several factors that influenced Seki Production to finally produce this first Korean animated feature. First was the considerable success of re-introducing several classic animation (mostly from Disney such as Snow White and the Seven Dwarfs and Peter Pan ) to the new generation. Second was the screen quota system that required some movie theaters that generally played foreign films to screen Korean movies around 60-90 days out of a year. Because Seki Production (who owned many of those theaters) wanted something exciting to run during those time in order to minimize the lost of revenue, turned into animation as the answer. Third factor was the harsh censorship enacted by the new Motion Picture Law that somehow did not apply to children?s movies.

Hong Gil-dong soon was followed by the Korea?s first stop motion animation, Heungbu and Nolbu directed by Kang Tae-wong, on June 30, 1967. Other notable animation features includes Hopi and Chadol Bawi (1967), Golden Iron Man (1967), Son O-Gong (1968, as Korean-Japanese production), The Golden Bat (1968), General Hong Gil-dong (1969), Treasure Island (1969), Prince Hodong and the Princess of Nakrang (1971), Lightning Atom (1971) and War of the Monster (1972).

After that brief expansion, the market for S. Korean animation rapidly shrank as the country was flooded with foreign animated films and TV shows before it gave the way to one of the most beloved S. Korean animation, Robot Taekwon V , directed by Kim Cheong-gi in 1976. The animation productions then become more abundant, and during 1976 to 1985 there are 62 animation features produced.

Animation production then shifted to TV series to serve the growth of tourism regarding two international sports events that were being hosted by South Korea: Asian Games in 1986 and Olympic Games in 1988. KBS produced the Korean first animated TV series, Wandering KKachi in 1987.

During the 1970s and 1980s, the South Korean government implemented a ban on Japanese media, including newspapers, magazines, movies, television programs and manga. [1] It was within this period that S. Korean animation was in its infancy. Many examples of early S. Korean animation incorporated unauthorized uses of Japanese anime characters and likenesses. For example, Space Black Knight featured characters that looked exactly like Amuro Ray, Char Aznable, Sayla Mass and Dozle Zabi of Mobile Suit Gundam . In Space Gundam V , the protagonist mecha was an unlicensed version of the VF-1J Valkyrie from Super Dimension Fortress Macross .

Another important note regarding the animation development in Korea was the growing of animation industries that did the subcontracting work for overseas productions, most notably for America and Japan studios. (In a couple instances, these same studios produced films directly plagiarized from anime that was subcontracted to them. For example, Toei outsourced some of Video Senshi Laserion to Korean studio Dai Won, who then made a Laserion ripoff called Video Ranger 007 which reused not only designs, but also animation from the original . This also happened with a Korean ripoff of Gatchaman II called Eagle 5 Brothers which copied entire scenes from the series and condensed them into a 70-minute film.)

With the rising cost of living in South Korea, Western producers decided to shift production to lower-cost area such as China and Vietnam in 1990s, the animation industry in Korea faced a great turmoil. Although several studios managed to retain contracts for high profile animations such as The Simpsons , Futurama , and Avatar: The Last Airbender , it became evident that the only way to survive was by developing original productions.

Recent developments in S. Korean animation parallel that to the country's industrial policy, which is noted for government working hand-in-hand with the private sector. The most impressive example of this collaboration was SICAF, where attendance was over 300,000, once again illustrating the great interest in locally-made product. The S. Korean government also sees animation as the most competitive industry for the 21st century. To demonstrate their confidence, it has provided tax breaks by changing animation's industrial classification and providing services to producers--two changes which clearly demonstrates the government's commitment to the field.

In contrast to Japan, Korea rarely adapts its manhwa into animated form. However, Korea has been responsible for countless animated series from around the world, most coming from Japan. South Korea is undoubtedly the largest supplier of television animation in the world. Industry estimates are not always precise, but no one would argue that in peak production years the country's production houses can turn out over a thousand half-hour (22 minute) episodes. Despite being the largest producer of animation for television, Korea's animation industry has acquired the unique distinction of its domestic animation being dominated by feature films.

" Han-guk Manhwa Aenimeisyeon " (literally "Korea Comics Animation") is a term that TV Tropes decided to use to refer to aeni. If you see it used anywhere here, please correct it.

For South Korean comic books, see Manhwa .

• Animation Age Ghetto : Despite the large volume of animation S. Korea produces, almost of all of it that is produced for the Korean market is made for kids.
• Animesque : After having done animation segments for Japanese shows for so long, it is no wonder there is such an influence.
• Plagiarism : A few animated films obviously rip off some Japanese anime shows, and do not put the Korean animation system in a good light.
• Super Robot : Much earlier Korean animations are just this.
• Toilet Humor : Koreans are more keen on this than the Japanese.

Also see Asian Animation for a list. Compare Anime , Japanese animation.

Animated Films

• Hong Gil-dong (1967) - South Korea's first animated feature.
• War of the Monsters (1972)
• Iron Man 007 (1976)
• Robot Taekwon V (1976) AKA Voltar the Invincible
• Taekwon Boy Maruchi and Arachi (1977)
• Golden Wings 123 (1978) AKA Goldwing
• Starland Trio (1979)
• Super Manzinger 3 (1982)
• Solar Adventure (1982)
• Computer Nuclear Warship Bombing Operation (1983) AKA Savior of the Earth
• Super Express Mazinger 7 (1983) AKA Protectors of Universe
• Space Gundam V (1983)
• Super Titan 15 (1983)
• Phoenix Robot Phoenix King (1984) AKA Defenders of Space
• Video Ranger 007 (1984)
• King Robot (1985)
• Micro-Commando Diatron-5 (1985) AKA Space Transformers
• Blue Seagull (1994)
• Super Child (1994)
• Armageddon (1996)
• The Last Warrior Ryan (1997)
• My Beautiful Girl Mari (2002)
• Oseam (2003)
• Wonderful Days (2003) AKA Sky Blue
• Hammerboy (2004)
• Empress Chung (2005)
• Aachi and Ssipak (2006)
• Yobi, the Five Tailed Fox (2007)
• Mug Travel (2007)
• Space Black Knight AKA Captain of Cosmos

Animated TV shows

• Wandering KKachi (1987)
• Dooly the Little Dinosaur (1987, 2008)
• White Heart Baekgu (2000)
• Cubix Robots for Everyone (2001)
• Spheres (2002)
• Pororo the Little Penguin (2003)
• Jang Geum's Dream (2006)
• Pucca (2006)
• Guardian Fairy Michel (2006)
• Eon Kid (2006)
• Bernard AKA Backkom (2006)
• Koongya Koongya (2006)
• Rocket Boy & Toro (2008)
• Yoohoo & Friends (2008)
• Canimals (2011)
• Zoobles (2011)

Animated Webtoons

• Avata Star Sue
• There She Is
• ↑ Partly due to atrocities and Japanese cultural imperialism during the Imperial Japan 's colonization of Korea.

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• Tteodori Kkachi

Tteodori Kkachi (1987)

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• Synonyms: Wandering Kkachi

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Images (21 screenshots).

• TV-Special, 1 (1988) Kkachi ae Nalgae Sequel ?
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• Reviews – Tteodori Kkachi  
• Comments – Tteodori Kkachi  

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Kkachi is a young boy who lost his mother at the age of 6 and lives with his father who has the habit of crossing Korea with his caravan but they suddenly move to Seoul where he joins baseball team at his college and his father marries a new wife. His father wants to force him to forget about losing his mother and has to learn to live with her father's new wife and daughter of her, Annie, a young handicapped girl who moves in a wheelchair. It took him a while to finally accept his stepmother and his new sister. During this period, he is fully participating in baseball quickly becoming the star player on his team and got to know Julie, with whom he gets along...

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Anime: Tteodori Kkachi

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In the animation history landscape, Tteodori Kkachi holds a special place as the first South Korean anime to grace television screens. This pioneering creation emerged as a special movie-length episode, a testament to the evolving landscape of South Korean animation. Adapted from a sports manhwa created by Lee Hyun-se, Tteodori Kkachi introduces us to the world of Seol Kkachi, a young boy who, for years, has been embarking on a wandering journey alongside Seol Dae-po, his father. Now, a pivotal juncture has arrived—a moment to ponder settling down.

The series unfurls on Kkachi's first day at a new school, his initial cheekiness leaving an unfavourable impression. As a series of events unfold, his enigmatic background gradually comes to light. We uncover the story of a motherless child who has spent his life in perpetual wandering. However, beneath the surface of his hardships, Kkachi's irrepressible cheerfulness remains unscathed. It is Ma Dong-tak, captain of the school's baseball team, who becomes the harbinger of change. Noticing Kkachi's extraordinary baseball skills, Ma Dong-tak extends an invitation to join the team—a proposition Kkachi initially refuses.

The narrative gains complexity as Kkachi's father, Seol Dae-po, finds himself entangled in a new relationship. This poignant story, involving a financially burdened widow caring for her crippled daughter, prompts Dae-po to make a life-altering decision. Meanwhile, Kkachi's journey takes him onto the school's baseball team guided by Ma Dong-tak. However, simmering tensions surface as Dae-po's remarriage forces Kkachi to confront his past, thrusting him into a struggle to embrace the present. His ongoing emotional turmoil, stemming from the loss of his mother, impedes his integration into the new family structure.

Guided by Ma Dong-tak's counsel, Kkachi dedicates himself to baseball, leading the team through preliminary rounds. Simultaneously, the dynamics within his own family take a turn. Dae-po's remarriage prompts Kkachi's contemplation of his mother's memory—a struggle characterised not by a dislike for his new family, but by a lingering attachment to the past. Overcoming this emotional turmoil and adapting to the radical change in his life emerge as the crux of his journey—a journey that ultimately leads to settling down after years of wandering.

As the plot weaves further, Dae-po's travels abroad to fund the operation of Dal-hee, his remarried wife's daughter, leave the family separated. This development pushes Kkachi into the challenging terrain of reconciliation with his stepmother and stepsister. Guided by the camaraderie of Ma Dong-tak, Kkachi assumes a leadership role, striving to lead the baseball team to victory.

In the midst of these events, Kkachi forms bonds, particularly with Choe Eomji—a gloomy track and field runner and a fellow schoolmate. As their interactions unfold, a love interest emerges. Through heartfelt conversations, they peel away the layers of their lives, sharing their struggles and worries, gradually lifting the weight off their shoulders, ultimately finding solace through their conversations.

The protagonist's unique character design featuring a funny peculiar hair, was actually based on a South Korean celebrity named Cho Sang-gu, who was also an old friend of the creator. The name 'Kkachi', derived from the Korean word for Magpie, a bird species renowned for its ceaseless journeys across continents, serves as a poignant reflection of the protagonist's transient lifestyle within the confines of a truck trailer.

Amidst these intricate narratives, ' Dallyeola Hani ' emerges as a parallel franchise within South Korean animation. Born from a sports manhwa in 1985, it ascended to greater popularity and success than its spiritual predecessor, Tteodori Kkachi. Uncanny similarities pervade character dynamics and narrative direction, notably the shared experiences of protagonists grappling with the death of their mothers. The journey to reconcile with their stepmothers, while depicted differently, remains connected by a common narrative thread. Even a few character designs exhibit eerie resemblances, most notably Hani's nemesis rival, Na Aeri to Eomji—both were also track and field runners. However, Dallyeola Hani takes an exaggerated approach; it's more dramatic, tragic, and violent, a style that may be deemed 'edgy' and immature by discerning viewers. In contrast, Tteodori Kkachi adheres to a measured tone grounded in realism. Although personally, I still prefer Dallyeola Hani.

You might be wondering why, given its mature approach, I hold Kkachi in lower esteem compared to Hani. The rationale lies in the broader array of characters and the more intricate character dynamics Hani offers. Despite its movie-length format, the pacing of Tteodori Kkachi tends to meander, with crucial plot developments unfolding at a dragging pace. Furthermore, Eomji, Kkachi's love interest, remains insufficiently explored. A silent flashback only hints at an argument between her and Ma Dong-tak, presumably linked to his unwavering commitment to baseball—a facet that strains his relationships with friends and family. This sort of dramatic plot point finds a more fitting home in sports anime delving into social themes, much like in Ping Pong the Animation .

Kkachi's struggle to adapt to his new life, while rooted in reality, proves tedious to watch. It's a challenge that doesn't demand immediate resolution, but rather unfolds with time. Kkachi requires time, and as viewers, we're left waiting. Although Kkachi's tribulations stem from his own choices, like his collapse due to malnutrition, they fail to significantly impact other characters or generate broader consequences. In my opinion, these shortcomings that render Kkachi monotonous find resolution in Dallyeola Hani. The latter artfully interweaves characters' individual problems, causing ripples that disturb the equilibrium of their interactions. The resulting chemistry and multifaceted character development prove much more engaging than solitary struggles, particularly when confronting issues that demand specific actions rather than passive waiting, as seen in the mundane 'getting used to' arc.

I don't recommend Tteodori Kkachi due to the reasons I've mentioned. It's not a show I'd even suggest for baseball enthusiasts. Don't watch it unless you're really curious about experiencing the first South Korean TV anime.

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Explanation by Deago on Thursday, 10.08.2023 18:36

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D'Myna Leagues (2000)

• Genre: Animation , Family , Comedy
• Creator: Ian Weir, Blair Peters
• First Air Date: 2000-01-01
• Last Air Date: 2005-07-18
• Total Seasons: 2
• Total Episodes: 27
• Status: Ended
• Episode Runtime: 30 min.
• Production Company: Studio B Productions
• Production Country: Canada
• Networks: CTV, YTV

Loosely based on the baseball writing of W. P. Kinsella, the series was set in a world populated by anthropomorphic birds, and centred on the minor league baseball team in the town of Mynaville. The baseball games were represented by placing two-dimensional characters in three-dimensional backgrounds. The teams of bird characters were opposed by rival teams like the Weasels, the Pigs, the Beavers and the Elephants.

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Wandering Kkachi

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