高佬在無國界的漫畫世界說故事

在“2016中法之春”眾多文化推廣大使之中，80后的高佬大約是最年輕的一個(gè)。他所從事的漫畫行業(yè)也更偏向于年輕人。在這個(gè)領(lǐng)域里，跨國間的互相交流與接納似乎也更容易些?！爸灰愕墓适隆⒛阆氡磉_(dá)的東西，能夠打動(dòng)他們?！彼f。

高佬無疑是具備了這種能力的。迄今為止，他已經(jīng)在法國發(fā)行了16本漫畫，是中國漫畫家里最多的一個(gè)。

Among ambassadors of the Festival Croisements 2016, Golo, who was born in 1980s, may be the youngest.

The comics he is working on are also a youth-oriented cultural fi eld. In his view, both mutual communication and acceptance seem to be easier in this world of drawing and youth.

" So long as you have stories to tell or something to express, people get moved", said Golo.

Doubtless, Golo has this kind of ability. Up till now, he has released 16 comic books in France, which made him one of the top of Chinese comic artists.

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On June 11th, Golo and comic artists from France and Belgium attended the Graphic Novel Festival and a series of forums. The Graphic Novel Festival is an important part of The Festival Croisements and also one of Golo's favourite activities. “Communicating directly with European artists of fi rst-class and being involved in different thoughts of creation and styles is an amazing experience.” he said.

Golo had interaction with European comics before. In 2011, through the companyTotalVision, he completed his fi rst comic book The Adventure of Ya-Ya with his French teammates. The comic book, which tells the story about two Chinese kids' adventure during in 1937 , was highly reviewed, which was followed with his continuous publications of six books.Interestingly, the conception and outline of the story was originally from a French editor Patrick , and the script, the samples of buildings and props of scenes were decided by Golo. “We discussed via Email and Video Interworking. From the beginning, there was a Chinese-French translator, but then we just started speaking English.”

However, this did not bring too many dif fi culties for his artistic work. “Children's worlds are very similar,. It's easy for them to tell black from white,” said Golo. This book is intended for 6 to 14-year-olds. Before reading The Adventure of Ya-Ya, most of them did not know that China and Japan once fought a battle. Ya-Ya is popular among youths. The different culture and special “scenes” are fresh and new to them.

Since the hit of Ya-Ya, Golo has published several comic books in France of various themes and styles. “This is also an advantage of the good publishing environment in France. Once they accept an artist, they will expect more possibilities, rather than the repetition of the former success.” Last year, he published his offprint book Hello, Vivian. The story happened in Colomiers, a small town in south of France, where only 60 thousand people are living. The impression there is quite different from what most Chinese think about France. There are few residents, and life is simple, maybe even tedium. Golo mentioned, even many French people don't know that place.

The different impression of Chinese on France arouses deep curiosity about other cultures. Nevertheless, Golo wishes to express something more personal but also somehow in common. “This is a story about a girl. She drifts about in a strange land. I hope someone who has a similar experience would understand that feeling, no matter where he or she comes from.”

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The real name of Golo is Zhao Zhicheng. This Pseudonym originates from Cantonese and means the one who is tall.

He is Cantonese, but now he spends more time in Beijing. “In China, Canton has a huge comic market, Hangzhou is full of many creative artists, but in Beijing there are even more international cultural activities and more opportunities for cultural communication. However, with the development of Internet, everyone can live and coexist with each other in the virtual platform.” The situation of the comics in China changes very quickly; much information and various channels provide the emerging artists with many chances and possibilities.

Yet the so-called Chinese comics have not been well established. People from other countries know American comics and Japanese comics, but they have no clear image of Chinese comics. “This needs inheritance, accumulation and shaping, whereas the faundation in China is not fi rm enough,” said Golo. Japanese comics developed into a mature industry for many decades - the structure of storytelling, the procedure of creating, the format and size of the work, and even the pen, the ink and the paper are strictly spec ifi ed. Foreigners can tell Japanese comics from the fi rst sight. French call them “Manga”.

“But this requires time and a spec ifi c course.”Golo thought, “Finding out the system for yourself is the fi rst step.” Just like Hollywood fi lms, even if they are showing a Chinese story or Egyptian story, people can sense the American style. The expressions of comic artists doubtless project the cultural background they are living in. When more and more Chinese comics achieve worldwide reputation, maybe Chinese comics will rise a lot with a collected strength, as Golo said.

In international activities like the Festival Croisements, Golo keeps being exposed to and absorbing the inspirations from all over the world. “Chinese creation and imagination are poetic and abstract, while westerners lay more emphasis on reality. For instance, in one work of Francois Schuiten, he has his own theory, philosophical viewpoints and means of constructing the world, and can also precisely conform to the constructive principles, as architects have their professional abilities.

In future, he will try to put the inspiration he's got this time into his artistic work. He said, this is how he shows respect for masters.

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6月11日，中央美術(shù)學(xué)院，高佬和來自法國、比利時(shí)的漫畫大師們一起參加“圖像小說節(jié)”系列論壇活動(dòng)?！皥D像小說節(jié)”是“2016年中法之春”藝術(shù)節(jié)的重要組成部分，也是高佬作為推廣大使最喜歡的活動(dòng)之一。他說，“可以直接與歐洲國寶級(jí)同行交流，這種碰撞非常過癮。”

此前，他與歐洲漫畫界也早有交集。2011年，通過一家叫做“天視全景”的圖書出版公司，他與來自法國的團(tuán)隊(duì)，一起完成了他的第一部作品——《丫丫歷險(xiǎn)記》。這本講述1937年兩個(gè)中國孩子歷險(xiǎn)故事——在真實(shí)時(shí)代背景下情節(jié)虛擬的漫畫，在法國大受好評(píng)，隨后又連續(xù)發(fā)行了后面的6本。

有意思的是，這個(gè)“中國”故事最初的構(gòu)想和框架都來自于法國編劇Patrick，而高佬則負(fù)責(zé)故事的各種細(xì)節(jié)，包括建筑等資料的搜集。“我們的交流都是通過郵件、視頻，最開始還有個(gè)中法文翻譯，后來，我們就直接用英文溝通?！比欢?，這并沒有給創(chuàng)作帶來太大的困難?！霸谶@個(gè)故事的理念里，我們著眼于主角的心路成長(zhǎng)歷程，孩子的世界都是一樣單純的?！备呃姓f。這本書的讀者設(shè)定在6歲—14歲。在讀《丫丫歷險(xiǎn)記》前，大部分孩子甚至不知道中國和日本打過仗。對(duì)于他們來說，亞洲是一塊很陌生的土地?！堆狙練v險(xiǎn)記》里不一樣的文化背景和歷史“場(chǎng)景”，對(duì)孩子們來說很新鮮。

此后，他在法國出版了好幾本漫畫，都是不同的題材和風(fēng)格。“這也是法國出版環(huán)境特別好的地方。一旦他們接受了某個(gè)創(chuàng)作者，就會(huì)希望看到他更多的可能性，而不是讓他重復(fù)之前的成功?！彼ツ晖瞥隽艘徊拷小赌愫茫鞭卑病返膯涡斜?，故事發(fā)生的地點(diǎn)是法國南部的一座三線小城科洛米耶（圖盧茲旁邊），只有6萬人口。那里和大多數(shù)中國人印象中的法國很不一樣，人很少，生活簡(jiǎn)單，建筑物方方正正，感覺很單調(diào)。高佬說，甚至很多法國人都不知道在哪兒。

這種與印象中法國的反差引發(fā)中國讀者對(duì)異文化的深層好奇。不過，高佬說，他更希望表達(dá)一些很“個(gè)人”又很共通的東西?！斑@寫的是一個(gè)女孩的故事，關(guān)于一個(gè)人在異鄉(xiāng)的漂泊、遇見和成長(zhǎng)的故事，我希望有類似經(jīng)歷的人，都能理解那份心情?！?/p>

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高佬，真名叫趙智成?！案呃小边@個(gè)筆名來自廣東方言，意思是個(gè)子很高的人。

他是廣東人，在北京電影學(xué)院畢業(yè)后，便一直留在北京?！霸谥袊?，廣東是漫畫消費(fèi)大省，杭州集中了很多創(chuàng)意者，但北京有更多外事文化活動(dòng)和文化交流的機(jī)會(huì)?！彪S著互聯(lián)網(wǎng)尤其是電商的發(fā)展，國內(nèi)漫畫網(wǎng)絡(luò)平臺(tái)發(fā)展非常迅猛。“國內(nèi)漫畫環(huán)境變化非?？欤Y訊多，渠道多，給了新作者很多條件和可能性?！?/p>

然而，所謂“中國漫畫”還未形成。外國人知道美漫、日漫，但對(duì)中國漫畫沒有印象?！斑@需要持續(xù)傳承、積累、形成規(guī)模，我們的基石還不夠深?！彼f。日本漫畫經(jīng)過數(shù)十年的發(fā)展，才有成熟的產(chǎn)業(yè)——講故事的結(jié)構(gòu)，制作的工序，作品的規(guī)格尺寸，甚至畫者用的筆、墨、紙都有專門的一套工具。外國人一看就知道是Manga（法國人對(duì)日本漫畫的稱呼）。

“都有一個(gè)過程，得慢慢來?！备呃姓f，“要先找到自己的體系?！本拖衩绹萌R塢電影，哪怕呈現(xiàn)的是異國元素，人們從電影里看到的依然是美國精神?！奥嫾业谋磉_(dá)，必然帶有他生存環(huán)境的文化。當(dāng)越來越多的中國漫畫家能在國際上有作品，或許，中國漫畫就可以集點(diǎn)成面了?！备呃姓f。

在“中法之春”這樣的國際活動(dòng)中，他在不停地接觸和吸收國際上的東西?！爸袊膭?chuàng)作想象比較寫意，但西方更注重寫實(shí)。這次中法文化之春圖像小說節(jié)，我遇到比利時(shí)國寶級(jí)作者馮索瓦·史奇頓，他的代表作品《朦朧城市》，其中60%—70%的畫面，都是想象出的未來建筑，架構(gòu)嚴(yán)謹(jǐn)，充滿了歐洲建筑派系樸實(shí)的光輝感，里面展現(xiàn)的哲學(xué)理論和人類環(huán)境學(xué)理念在漫畫里是絕無僅有的?！备呃谐錆M敬佩地說。

未來，他會(huì)嘗試把這次受到的啟發(fā)放在自己的作品里，他說，這是一種對(duì)大師的致敬。

N=NIHAO

G=GOLO

N: As an international cultural expression and a way of communicating, what kinds of advantages does the comic contain?

G: The advantage of the comic belongs to the communication of pictures, and when the readers see them, they almost have the same feelings. Some comics have even no dialogues, which override the obstacles of languages and optimise the translation of “meanings”. An English writer created the well-selling comic The Book of Bunny Suicides, in which there is not one single line, but only the really interesting plots. He talks about the sorrow topic of death that faces every human being yet in an extremely relaxing and joyful way.

NI: What do you think we can learn from the French on their cultural output and communication?

G: European comic culture is properly inherited. It has developed for over one hundred years. The Chinese comic culture is quite obvious. It happened once in the Republic of China and the again in the initial period of new China. We can see that the spirits and main ideas of the comic in the 60s, 70s and 80s are very different. Then in 90s, due to the awful social environment (for example the bad treatment of writers), the comic ceased to exist. From 2000 onwards, comic magazines gradually came back into people's lives and the real national comic then started to take shape. But these new comics have no inheritance from the last generation, and the shorcomings are very clear. I think the so-called cultural output lies in the successions, the continuous popularisation and stability. That's also on the top of our agenda and what we should learn from the French.

N: What's the difference between young Chinese and young French?

G:Young French emphasise the “ego” very much. When the author is working, he intends to show how“I” want to create, how “I” can relate my opinions to my readers. They pay a lot attention to the“formation of self cognition”. Many young French will make a random living for a while after graduation with the permission of their parents. They do parttime jobs and like to travel until they are in their late 20's or early 30's and then they start to think about settling down. During this period, they will see the different ideologies of other countries and build up their own values. I admire this kind of growing-up. We normally do job-hunting right after we graduate, and our family would permit nothing else. Moreover, China and France have totally different college entrance examinations. The examination in France requires much more philosophic thinking and open mindedness to argue many points. Philosophy is also part of students' curriculum. They put much importance on the abilities of independent thinking, self-thought and self-awareness. In contrary, what is our emphasis in China?

N: How has the attitude of young French towards China possible changed?

G:The young French I am getting along with know more about Chinese culture and the change in China than the elder French did. They get much more information on China and are amazed by the recent evolvement of Chinese online shopping. One of my French friends surprisingly realised that restaurants, hotels and CVS's in Beijing largely accepted WechatPay and Alipay, while people in France only pay in cash or with cards. As for the electronic reading, Chinese also reads more e-books than the French. In France, people prefer real books in their hands when they are on the metro.

“文化輸出最關(guān)鍵是不能斷層”

N: 漫畫作為一種跨國文化的表達(dá)和交流方式，有哪些優(yōu)勢(shì)?

G:漫畫的優(yōu)勢(shì)是圖像的交流，當(dāng)讀者看到圖像時(shí)，他們的感受基本是一致的。有的漫畫甚至沒有對(duì)白，這樣就跨越了文字的障礙，得到“意義”的最大化傳達(dá)。一位英國作家創(chuàng)作的暢銷漫畫《找死的兔子》，書本沒有一句臺(tái)詞，但情節(jié)非常有趣，把“死亡”這個(gè)人類都面臨沉重的話題，表現(xiàn)得異常輕松愉快。

N: 你覺得法國在輸出和傳播自己的文化上，有哪些值得借鑒的地方？

G:歐洲文化最優(yōu)勢(shì)的地方在于繼承，即使是相對(duì)通俗的漫畫文化，也在歐洲發(fā)展了一百多年，并且不曾出現(xiàn)任何斷代現(xiàn)象。中國則是斷層明顯，民國斷一次，建國后也是間斷明顯。我們可以看到，60、70和80年代的連環(huán)畫，各自所傳達(dá)的精神和思想差別非常之大。而到了90年代，由于社會(huì)環(huán)境的改變（比如作者的待遇變得越來越差），連環(huán)畫甚至一度淡出人們的視線。2000年起，國內(nèi)的漫畫雜志慢慢起步，真正意義上的國產(chǎn)漫畫才逐漸出現(xiàn)。但這時(shí)的中國漫畫，已經(jīng)跟作為它前輩的連環(huán)畫沒有任何關(guān)聯(lián)了。所以，斷代斷得特別厲害。所謂文化輸出，我認(rèn)為關(guān)鍵在于不能斷，必須持續(xù)地推廣，保持穩(wěn)定性。這是最重要，也最需要向法國借鑒的地方。

N:現(xiàn)在的法國年輕人與中國的年輕人有哪些差異？

G:法國的年輕人更強(qiáng)調(diào)“我”的思想。比如漫畫創(chuàng)作者更多強(qiáng)調(diào)“我”想如何去畫，“我”如何向讀者表達(dá)我的觀點(diǎn)。他們很重視“自我意識(shí)的形成”。很多法國年輕人大學(xué)畢業(yè)后會(huì)在家里人的認(rèn)可下，先到外面闖蕩一段時(shí)間，打零工，旅行，全世界到處跑，一直到28— 30歲，才會(huì)安定下來。在這段時(shí)間里面，他們會(huì)看到不同國家的意識(shí)形態(tài)，形成自己獨(dú)有的價(jià)值觀。我很羨慕這種成長(zhǎng)方式。我們大學(xué)畢業(yè)后，第一件事情就是找工作，家里人更不可能支持別的選擇。兩國的高考題也很不同。法國高考需要對(duì)很哲學(xué)很開放性的命題闡述自己的觀點(diǎn)，哲學(xué)也是法國學(xué)生的課程之一。法國對(duì)形成獨(dú)立思考能力，自我思維、自我意識(shí)很重視。而我們重視的是什么呢？

N:年輕的法國人對(duì)中國的認(rèn)知有什么改變？

G:我接觸到的法國年輕人比他們的長(zhǎng)輩更了解，也更感受到中國的變化。他們可以得到很多來自中國的資訊，他們驚訝于中國電商發(fā)展程度。我的一個(gè)法國朋友發(fā)現(xiàn)北京的飯店、餐廳、便利店，全部都可以用微信或者支付寶等軟件支付時(shí)非常驚訝。在法國，人們只能用現(xiàn)金或者信用卡進(jìn)行支付。閱讀上來說，中國人也比法國人更多進(jìn)入電子閱讀模式。在法國，乘坐地鐵的時(shí)候，大家依然是更傾向于手里拿著紙質(zhì)小說來看。

GOLO'S PROFILE

高佬和他的紀(jì)錄

2016

Ambassador of Croisements Festival 2016

擔(dān)任“中法文化之春”形象大使

2015

Comic book Happy Ever Before published

Bonjour Vivian (Chinese and French versions) published

《你好，舊時(shí)光》（八月長(zhǎng)安同名小說漫畫版）出版

《你好，薇薇安》（中文、法文版）

2014

Golo's short story collection Waiting Alone published in Chinese and French

Dual language comic (Chinese and French) Between the Sky and Earth I published in the Francophonie

出版?zhèn)€人短篇集《獨(dú)自等待》（中文、法文版）

中法語版《螢窗異草聞道集I》于全球法語區(qū)出版

2013

PRIX JEUNESSE Lyon BD 2013

Amien BD Festival Memorial Award 2013

Comic book of fi lm Up in the Wind

獲里昂市漫畫節(jié)青少年組最受歡迎獎(jiǎng)獲亞眠市漫畫節(jié)紀(jì)念獎(jiǎng)

創(chuàng)作同名電影《等風(fēng)來》漫畫版

獲里昂漫畫節(jié)年度青少年讀物獎(jiǎng)

2012

Lauréat LIVRENTêTE 2012, Bande dessinée 9-11 ans

Sélectionné Meilleur 1er Album 2012 des lycéens picards

Lauréat Prix Bulles en Fureur 2012

獲法國CBPT協(xié)會(huì)（法國全民圖書文化協(xié)會(huì)）頒發(fā)的 “帶頭好書 ”獎(jiǎng)（9—11歲年齡組）

安古蘭國際漫畫節(jié)入圍學(xué)院獎(jiǎng)

獲法國關(guān)注漫畫 BULLES EN FUREUR 獎(jiǎng)

2011

Published La Balade de Yaya series (in French) and held booksigning meetings in 20 French cities

與法國出版社合作創(chuàng)作《丫丫歷險(xiǎn)記》，在法國二十余城市受邀請(qǐng)簽售

GOLO TELLING STORIES IN THE BORDERLESS COMIC WORLD

Text by Brooke Translation by Bian Jiajin&Yi shan Photos by Bao Baolan

CULTURAL OUTPUT ALLOWS NO FAULTS