A group of professional Chinese and French graphic storytellers toured China during the ninth edition of La Fete des Bulles (the festival of bubbles) earlier in June to highlight the power of illustration in presenting human nature, and expressed a shared vision for graphic novels.
As part of the annual Festival Croisements, a cultural event organized by the French embassy in China and the French Institute of Beijing, La Fete des Bulles welcomed graphic artists from China and France to attend dialogues and workshops and improvise illustrations in addition to book signings in Beijing, Hangzhou in Zhejiang province, Shanghai, Nanchang in Jiangxi province, and Wuhan in Hubei province from June 6 to 15.
This series of events focusing on graphic novels has been held annually since 2016.
Graphic novels are typically intended for adults, offering a blend of art and self-contained narratives. Although still a growing field, there are broad prospects in China, says Ruan Yunting, comic artist and associate professor at the School of Animation and Games of the China Academy of Art in Hangzhou.
Ruan's most recent work Chun Hui (The Young Teacher) was created over 13 years and published in November. It features the classroom stories of a young art teacher, her interactions with students, and reflections on the state of education.
Ruan, 45, views this work as a summary of her teaching experiences over two decades. Notably, she expresses her observations of the myriad pursuits and confusion that teachers and students encounter during their coming of age.
As the ambassador for this year's La Fete des Bulles, Ruan believes that China's industry insiders can benefit from the explorations of European graphic artists, whose ideas and creations can undoubtedly inspire a broader approach to conveying China's culture and reality through comics.
She adds that European graphic novels also provoke alternative perspectives on life. The similarities and differences between the two cultures can help Chinese creators and readers gain a better understanding of their position in the world.
Ruan particularly appreciates French graphic authors who identify themselves as "artists" — rather than creative producers of industrial graphic products who make a living drawing — and choose to focus on creating quality art and living an artistic life.
Despite having different contexts of expression, Ruan believes that Chinese and French graphic novels emphasize sensory enjoyment through images — much like peoples' shared obsession with gourmet food — using images as a medium to convey subtle emotions.
Such an idea echoes that of a French artist who goes by the pen name James, whose comic series Dans mon Open Space (In My Open Space) humorously explores the dynamics and absurdities of office life, which was translated into Chinese last year.
James tells China Daily in Beijing that comic artists from both countries have presented similar ways of conveying human nature. With limited knowledge of Chinese comics, he still observes that the creation is exquisite and detailed in terms of drawing techniques, themes and characters.
The French artist specializes in humor and sarcasm and says he's particularly interested in how his Chinese counterparts handle humor, a theme closely related to language and cultural backgrounds. He says he hopes to gain some inspiration during his China tour.
James says at first he didn't understand why his editors chose to publish a Chinese version of his series because it is based on his 12-year office experiences in France and focuses on French workplace culture.
"I thought only French readers would resonate with my work. However, the Chinese editors' decision indicates that they understand what I am conveying, especially the humor," he says, adding that he has realized with surprise and encouragement that the theme is universally relatable.
In all of his creations, James narrates aspects of contemporary society he's familiar with. Using the workplace as a rich source of material, he intends to depict the series as a modern sitcom.
In the series, he portrays the characters with human bodies and animal heads. The boss has a rhinoceros head because this animal tends to "charge forward without much thought". "While bosses need to be courageous, they can sometimes be impetuous and prone to making mistakes."
Yet, he views the employee with the polar bear head as another version of himself — wishing to be left alone and quietly hide in his cave.
A comic editor for French publisher Groupe Delcourt, James plans to recommend Ruan's Chun Hui, to the French publishing community.
Despite the language barrier, he appreciates the smooth flow of the graphic novel's artwork and narrative. Flipping through the book and viewing the brushstrokes and colors is a relaxing, enjoyable experience, he says.
According to James, the French publishing industry holds an open attitude toward foreign comics, showing considerable market interest in works from Asian countries such as Japan and South Korea. They are also paying growing attention to Chinese comics.
He expects that his presence at La Fete des Bulles will facilitate comic exchanges between the two countries, allowing him to meet his Chinese readers face-to-face and hear their feedback. He is also seeking potential cooperation to publish quality works from China and France.
During this year's La Fete des Bulles, French comic artist Daria Schmitt, whose fantasy work Le Bestiaire du Crepuscule (The Twilight Bestiary) was published in Chinese in January, and Chinese artists including Zuo Ma, whose Night Bus was published in Italy, the United States and France, shared the concepts and stories behind their creations.
Contact the writer at fangaiqing@chinadaily.com.cn
