INTERVIEW:
In 2026, bkk UNZINE is working with our featured artists to develop the themes for each month’s issue.
This month, we’re proud to present our featured artist BL creator Beli, whose work Coffee or Me?! (ที่ใจสั่นเป็นเพราะกาแฟหรือแกวะ?!) and To Soul (เพราะคุณทวินเฟลมของผม) have captivated audiences on LINE Webtoon and who will be our special guest at this year’s BKK Comics Art Festival this coming October. “Our Ordinary Day” comes from her recent work and in this interview bkk UNZINE discusses with Beli her work, process and insights as a BL comic artist in Thailand. Also remember to check out her video interview with Sketchman Boris as well as the other submissions to the September 2026 issue of bkk UNZINE!
What kinds of comics or cartoons were you into growing up? Did you always read comics digitally or did you read physical books?
Growing up, I didn't read comics that much, since it was pretty difficult for my family to travel into the city to reach bookstores. I think as a kid I probably had more chances to watch cartoons than to read them. I loved watching “The Lion King” and “Tarzan” so much— I can't even remember how many times I watched them, but it was a lot. When I got to junior high, my social circle started getting access to more new media, and around that time I watched a Japanese anime called “Reborn,” which is about a school mafia, followed by “Naruto.” That might have been the starting point that got me reading more comics and manga. But the real turning point that made me fall in love with comics and want to create my own came from a Chinese artist named Old Xian, who wrote 19 Days. I was in junior high at the time, and getting to read full-color BL online was something amazing. I loved the illustration-like style so much that I wanted to study and draw just like that. After that, I got to know famous Thai artists from that era, like VICMON— a novel illustrator who also wrote his own comics, with a distinctive line style that I really loved.
Was there any particular comic or artist that inspired you to make comics yourself? What inspired you early on?
Old Xian, the Chinese artist who wrote 19 Days, and VICMON, the novel illustrator, as well as Vipada — known by the pen name Tako — were artists from that era whose work I loved and still follow to this day. Another major source of inspiration was the graphic novel work by Thai artist Songsin Tiewsomboon (Songsin T.). He's the one who gave me the courage to create my own original work. The books I always recommend are 9 Lives and the one called Fun (ฝุ่น).
Did you study art or did you wind up in art through another path? How did you eventually decide that comics was the right choice for you?
I felt really torn at the time this question came up, whether from family or from people outside. I could say I wasn't a great student, but I loved drawing and art from a young age, and my mom always supported whatever I was interested in. So I kept doing it— drawing, and later continuing on into digital art studies. I honestly can't give a definitive answer, but the one thing my actions have always answered for me is that I never stopped drawing. There's something inside me that keeps shouting to just try it— make your own work, create it. That voice kept looping back even after I'd grown up and was already working a regular corporate job. I think... I don't know, but if I hadn't tried, I probably never would have done it at all, and I wouldn't be able to say how much I love it or how much it's truly right for me. Right now, I feel like I'm still searching for that answer, in the middle of experimenting with what I'm curious about.
We’ve seen many of your sketches in pencil, which are themselves quite beautiful… Do you feel differently about working by hand on paper and working digitally?
They're really different— I had to adjust and get used to it. When I draw on paper, I often find myself instinctively looking for an 'undo' button that isn't there [laughs]. As for drawing on the computer, I feel like it uses my body more — my eyes have to focus intensely, sitting for long stretches, things like that— it feels more like actual “work” compared to drawing on paper, which I mostly just use for sketching, practicing, or jotting down ideas.
We’ve seen many of your sketches in pencil, which are themselves quite beautiful… Do you feel differently about working by hand on paper and working digitally?
They're really different— I had to adjust and get used to it. When I draw on paper, I often find myself instinctively looking for an 'undo' button that isn't there [laughs]. As for drawing on the computer, I feel like it uses my body more — my eyes have to focus intensely, sitting for long stretches, things like that— it feels more like actual “work” compared to drawing on paper, which I mostly just use for sketching, practicing, or jotting down ideas.
Online comics are linear and read mostly by scrolling… When you lay out your comics, do you still think in terms of a traditional printed comic book page and then break up the panels, or are you already thinking for the webcomic format? How do you decide on the shape of the panels, if they’re (vertical) portrait or horizontal(landscape)? What are the pros and cons of each format?
Originally, it's essentially the same thing— taking panel-based comics and arranging them into a long vertical format. But whether it's a page-turning comic or a scroll-to-read vertical format, there are hidden differences. With webtoons in the long vertical scroll format, readers can only focus on one panel at a time. Meanwhile, with a traditional comic, everyone sees the whole page laid out with all its panels at once. That's why the feeling is different. Beyond readers only being able to focus on a single panel, the way white space is divided also becomes something that gives the work its own rhythm. Scrolling down to reveal an image, seeing a speech bubble, seeing text appear as you scroll — it creates a reading rhythm without the reader even realizing it. For example, readers might not consciously notice it, but works aiming for suspense or excitement tend to use tightly-packed white space. Panel design for scroll-format comics works similarly. For me, there's an element of illustration mixed into it— I can use the vertical length as a feature, or bring in montage-style emotional storytelling scenes that are beautifully composed. But overall, I think it comes down to intention in the work. Say a piece is made as a scroll-format webtoon but you want to expand on it by also making a printed volume— in that case, making a printed book also has the advantage that it can be done alongside the webtoon format.
When did you start to realize that readers were connecting with your work and that you were building a following? What were you working on at the time?
It probably started small — I posted my comic for free to read on ReadAWrite, a Thai platform for novels and comics, and getting comments from readers there. After that, I started working with LINE Webtoon, and my reader base grew from there. I have to thank the platform and my producer at the time, who always supported what I was doing.
“During times when I felt sad or lonely, I often found comfort in reading a book or a comic. I felt like in those moments when I was drowning in sadness or feeling alienated from society, I'd receive a message through the work of a writer I was reading that I wasn't alone in feeling this way, that I wasn't isolated. I think everyone goes through moments like that at some point. I want to make work that gives my readers courage, work that makes them feel like they're not alone in this world and that comes from real experiences in my own life too.”
How do you think your work is different today, compared to your earlier releases?
If you wanted to get to know me and see what I wrote and drew before, you'd probably be shocked at how much my art style has changed. My latest webtoon compared to my very first work— the difference is obvious. Readers tease me about it often, about how much my style has changed, but I consider it a good thing, because it shows me my own growth.
Let’s talk about Our Ordinary Day… Can you tell us about this latest work? Do you enjoy depicting moments of everyday life or fantastical and dramatic scenes more? How did you hope this theme would inform other artists’ submissions?
Honestly, it could just be an ordinary moment from someone's everyday life. Something simple that might happen every day without us even realizing it— why not try drawing it and adding a bit of something special? Like, “Hey, lucky us, it rained today and we got soaked head to toe, but something happened that still made us laugh”— sharing little good moments like that with each other. And adding a bit of a fantasy flair into it could be fun too!
What about your original characters do you think make them appealing to your audience? Do you base them on people from your life or are they mostly imagined?
Mostly they come from imagination. A lot of it comes from things I love, reading novels, or falling for characters in anime I've watched. Things I read, things I like, I want to draw them into the characters I create, and hide messages within them for my own readers too. During times when I felt sad or lonely, I often found comfort in reading a book or a comic. I felt like in those moments when I was drowning in sadness or feeling alienated from society, I'd receive a message through the work of a writer I was reading that I wasn't alone in feeling this way, that I wasn't isolated. I think everyone goes through moments like that at some point. I want to make work that gives my readers courage, work that makes them feel like they're not alone in this world and that comes from real experiences in my own life too.
Why do you think the BL genre has become so popular? Are there BL titles and artists whose works you’re excited about nowadays?
In Thailand, LGBTQIA+ content is very much embraced by society — whether it's series, films, novels, or comics, including GL, BL, and other kinds of diversity. I think it's because Thai society doesn't judge people based on gender, but instead values people as people and respects diversity. That openness in society has allowed media aimed at specific communities to grow from small niches into full mainstream media. As for the work of comic artists, OC (original character) works have also been growing. I think there are a lot of artists in the BL genre like myself — one I'd love to recommend is a title called I'm the Most Beautiful Lord in Siam(ฉันนี้แหละท่านขุนที่สวยที่สุดในสยาม), a Thai-made webtoon about Woradet, a Thai superstar who publicly comes out as gay, gets attacked by backlash online, and dies in an accident — only to isekai back into the past, into the Ayutthaya era, where chaotic events unfold. You can follow it on webtoon platforms; it's produced by Yuen Kin Pen Studio. And another one I've followed for a long time is by Tako, or Vipada— a title called Good Gosh Daddy, which you can also read on LINE WEBTOON Thailand.
What do you want audiences to take away from your work? Have you ever gotten feedback that surprised you or made you think in a different way?
I want to feel like I can be friends with my readers through my work, and I really love reading comments. Sometimes I always go back and reread old comments readers have sent me. So please, feel free to leave lots of comments! You've always been our source of encouragement. Thank you so much, from the bottom of my heart!
Are there any other genres you’d like to try writing or illustrating?
I'm currently planning something with a Lanna theme— it's from a period in Thai history, before it became “Thailand,” when it was still Siam, and the Lanna kingdom was part of what is now northern Thailand, around 600 years ago. Right now I'm doing research and writing the script alongside it. I think when you're working on a historical period piece, you need to read way more research than usual; it's really tough... I'm not sure how far I'll be able to take it, whether I might give up partway through, or maybe in the middle of it, I'll feel like writing something else on the side you might see me pop back with a new fantasy story instead. Fantasy mixed with survival, haha!
How is it living as a comic artist in Thailand? Are there any things that you never considered before, and do you have any advice for struggling artists trying to get noticed?
Honestly, unless you really hit it big— like getting the rights bought to turn your work into a series— it's probably really hard to survive purely as a full-time comic artist in Thailand. You often need to take on other work alongside it, and be diligent about posting clips on platforms too— it's not that different from being a content creator, really. Promoting yourself frequently has kind of become a necessary part of being an artist in this era.
How do you hope the comics industry in Thailand will develop and grow? Do you think it will move more towards digital or is there still space for physical books?
There are many kinds of media in Thailand, but for comic artists specifically, it can feel more abstract compared to other media here, maybe because the government doesn't support this field as much as it should. That said, I have to admit it's gotten a lot better compared to several years ago. I feel like younger generations are more open to accepting drawing as a real career than you might expect. You can see it from art markets like CQ and CA, where more and more circles have their own zines and comics for sale every year, which is a great thing. I think the physical book scene can survive, as long as it doesn't run into issues with rising production costs from Thailand's economy. Collecting physical volumes will probably become something for people who genuinely want to collect work they truly love, like what I do myself. I buy the volumes I really want to collect and genuinely love, and buying e-books is another option alongside that.
We’re very excited that you’ll be joining us as a special guest for the BKK Comics Art Festival this October… What are you looking forward to sharing with fans at the event?
I want to say hi to everyone! I thought I'd love to share more about my latest webtoon, To Soul (เพราะคุณทวิน เฟลมของผม), with you all. We’ll also do a Q&A and have some fun conversations— if you're interested, come find me at the BKK Comics Art Festival this October! I hope my experiences have been useful to you.
Special thanks to Beli for making this interview possible, and keep an eye out for future collaborations with our featured artists!