歷史是一種凝聚共同體的語彙敘事，而歷史認識則是個人與集團如何認識過去、對過去採取什麼意向的思考架構。1945年後，國民黨政府以強大的歷史教育體系，使中國史觀成為一般人的歷史認識參考架構，在戒嚴體制下封閉的臺灣社會，亦沒有足以檢視這個不證自明的「中國＝歷史＝我群過去」的知識貯槽。雖然以中國古代為背景的古裝漫畫或歷史漫畫，不強調考據，呈現出的是一個符應官方史觀的「想像的中國」，但這些漫畫的內容仍能為空虛的歷史架構添入感性與意義。1966年漫畫審查制落實實施後，臺灣漫畫日漸衰微，興起的日本漫畫等帶進了異質的內容，給予臺灣人多元的訊息，豐富了知識與符號的貯槽。但直到1990年代後，隨著民主化運動的推動，中國史觀的一元統制力弱化，日本漫畫帶來的資訊開始充實了原本空虛的歷史相關意義貯槽，但臺灣本土漫畫的去時空性特徵仍然可見。長期以來去生活感覺的歷史認識，直到2000年代中期以後，才開始逐漸呈現出身體性，歷史的認識慢慢呈現出多樣的可能。

History is a form of discursive narrative for the assembling of communities, and historical understanding is the cognitive structure for how individuals and groups understand the past as well as the intentions they have toward it. Since 1945, the Kuomintang government had enforced a powerful history education system which made an ＂China=history=our past＂ equation. The historical period comic books based on ancient China presented an ＂imaginary China＂. Until the 1990s, as political movements pushed for democratic reforms, the monocentric control of China-centered view of history dwindled, and the information brought by Japanese manga started to enrich the once hollow base of historical meanings; however, the decontextualized characteristic of local Taiwanese comic books was still visible. The historical understanding devoid of life and feelings for long only began to exhibit a sense of embodiment until the middle of the 2000s.