Coming Attractions: Six Translations of Chinese Comics for the Summer and Fall of 2015

As many of you already know, I am on track to graduate from the Department of Asian Studies at UBC with my Masters degree in August. After a lot hand wringing, I’ve decided to take a year off from graduate school to devote myself to translation and other projects. I’m not sure if I will continue on to a PhD at the end of the year or not.

The good news: I’m still head over heels in love with Chinese comics, and plan to continue blogging and tweeting far, far into the foreseeable future. Here are the Chinese manhua and lianhuanhua that I plan to translate over the next six months to a year, depending other obligations (like eating,  sleeping, paying the rent, etc) that life throws my way. Also, if you have any suggestions for future projects, or would like to donate to support my translations, there is a page for that now!

xiaolingtong

1. Smarty Pants Visits the Future 小靈通漫遊未來

Adapted by Pan Caiying 潘彩英 from the original 1978 story by Ye Yonglie 業永烈 with art by Du Jianguo 杜建國 and Mao Yongkun 毛用坤.

(Liaoning Fine Arts Press 遼寧美術出版社, May, 1980, 150 pages)

Description: Popular lianhuanhua adaptation of a groundbreaking post-Cultural Revolution sci fi story. A young boy visits the near future and learns about all of the amazing new technologies which will make life easier for the Chinese people, including smart watches, robot butlers, hover cars, and (of course) giant watermelons.

Think The Jetsons meets EPCOT as imagined by Deng Xiaoping.

 

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2. Confucius: A Life of Crime 孔老二 罪恶一生

Xiao Gan 萧甘 with art by Gu Bingxin 顾炳鑫 and He Youzhi 贺友直

(People’s Press Shanghai 上海人民出版社, June, 1974, 23 pages)

Description: This short comic was produced towards the end of the Cultural Revolution as part of the 1974 “Criticize Lin, Criticize Confucius” campaign launched by the Gang of Four. Sharply critical of the ancient philosopher whose teachings (or interpretations thereof) have come to be seen as foundational to Sinophone countries, this irreverent look at the man from Qufu is one of the more light-hearted products of the disastrous Cultural Revolution.

Think O Brother Where Art Thou meets The Devil’s Dictionary as imagined by Christopher Hitchens.

 

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3. Nüwa Repairs the Heavenly Mantle 女娲补天

Adapted by Shi Jinglin 石景麟 from the original retelling by Yuan Ke 袁珂 with art by Hu Yongkai 胡永凱.

(Shanghai People’s Fine Arts Press 上海人民美術出版社, July, 1980, 65 pages)

Description: Lyrical retelling of the classic Chinese creation myth with incredible art by Hu Yongkai. Later made into an award winning animation by Qian Yunda 錢運達 at the Shanghai Animation Studio 上海美術電影製片廠, with art direction by Hu Yongkai. During the late 1970s and early 1980s, adaptions of traditional stories became a way for artists and authors to indirectly criticize the Gang of Four and the excesses of the Cultural Revolution. At the same time, these works introduced young people to a rich cultural legacy which had been suppressed for over a decade. For Chinese language learners, they are a great resource for people who want to a get a deeper understanding of Chinese culture than is generally available in most textbooks.

Think: The Book of Genesis meets Turtle Island as imagined by Carl Jung.

 

fanduimeidi_12

4. Pictures in Opposition of the American Imperialist’s Re-Armament of Japan 反對美帝武裝日本圖片

[or, for the sake of brevity, American Imperialism Exposed!]

Author unknown.

(Three People’s Press 三民圖書公司, 1950-52, 32 pages)

Description: These satirical postcards were collected by the OSS/CIA agent, journalist, and anti-communist crusader Edward Hunter (1902-1978) as part of the research for his book, Brain-washing in Red China: the calculated destruction of men’s minds (Vanguard Press, 1951). In recent years they have attracted some attention on various Chinese forums and internet media aggregators, thanks to their biting criticism of the US and Japan.

Think This is Tomorrow: America Under Communism! meets This Modern World as imagined by a socialist Thomas Nast from an alternate universe.

 

Fisher Boy lianhuanhua

5. Fisher Boy 渔童 (Part of the Boxer Legends 义和团故事 series)

Adapted by Wu Chao 吴超 and Cheng Hua 程華 from the folktale collected by Zhang Shijie 張士傑, with illustrations by Bo Cheng 伯誠,  Guang Yu 光玉 and Da Fang 達方.

(People’s Fine Art Press 人民美術出版社, July, 1959, 47 pages)

Description: This story was one of over a dozen collected and rewritten by the school teacher turned folklorist Zhang Shijie (1931-1978) in rural Hebei in the 1950s. In the story, the people of an unnamed fishing village find themselves in  conflict with Western imperialists. An old fisherman finds a bowl emblazoned with an illustration of a “Fisher   Boy” who comes to life to help the old fisherman. The magic bowl attracts the attention of a greedy Christian missionary and a corrupt Manchu official. Just when all seems to be lost, Fisher Boy emerges from the bowl to send his foes flying. By recasting (fictional) events which led to the (real) Boxer uprising as a nascent nationalism, folktales such as Fisher Boy played a critical and under appreciated role in cultural milieu of the PRC in the late 1950s and early 1960s, with the story later being adapted not only into two seperate lianhuanhua, but also a children’s picture book and animated film. Due to the supernatural elements of the story, however, Zhang was denounced during the Cultural Revolution, and died in obscurity.

Think Peter Pan meets Captain Marvel as imagined by Karl Marx.

 

Feng comic

 6. Maple

Adapted and illustrated by Chen Yiming 陳宜明, Liu Yukang 劉宇康, and Li Bin 李斌 from the original short story by Zheng Yi 鄭義.

(Lianhuanhua Pictorial 連環畫報, August, 1979, 32 pages)

Description: A series of influential oil paintings, with text, depicting battles between opposing Red Guard factions during the Cultural Revolution. According the then editor of the Lianhuanhua Pictorial, Xu Mouqing 許謀清, this comic caused an uproar when it was first published. The frank depiction of the violence of the era and the strong emotional appeal are hallmarks of the Scar Art & Literature 傷痕藝術與文學movement which lasted from 1978 to 1982.

Think Mad Men meets Battle Royale as imagined by Alex Ross.

Support the Encyclopedia Manhuannica

As I mentioned above, I will be taking the next year off from graduate school to devote myself to translation and other projects. I have plenty of paid translation work (although I could always use more!), and so no matter what happens, I will continue to use my own money and time to translate and write about Chinese comics. I’d love to be able to devote even more time than I already do this site, though, which is part of a larger project to build the world’s first English language online reference book on Chinese comics, the Encyclopedia Manhuannica.

If you have an even a couple of bucks to spare, check out my Patreon site and consider pitching in so that I can keep putting up translations and high quality scans of Chinese comics for free!

Imperial Chinese Avengers is a Thing: Four Chinese Superhero Mashups

The Avengers franchise and superhero films in general are big business in China, with the first film of the series earning Marvel and Disney some 567 million RMB [$91.6 million USD] when it was released in mainland movie theaters in 2012,1  with $17.4 million of that coming in on just the first day. 2 Given the popularity of the film in the Middle Kingdom, perhaps it isn’t surprising to see cartoonists both here in North America and over in China attempting to “sinicize” 漢化 the heroes. Here are four examples I’ve come across in just the last week.

1. Avengers of Imperial China by micQuestion

Avengers of Imperial China

Source: http://micquestion.deviantart.com/art/The-Avengers-of-Imperial-China-373438271

Created in January, 2012, for a contest on CBR, micQuestion’s version features The Immortal Captain, Invincible Iron Mandarin, Mighty Thunder, and the Emerald Mountain.

2. Peking Opera Avengers by Gene Luen Yang

Captain-America

Captain America

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  1. See: http://www.sarft.gov.cn/articles/2013/01/11/20130111112329420341.html []
  2. See: http://deadline.com/2012/05/avengers-now-260-5m-overseas-could-reach-585m-worldwide-through-sunday-with-u-s-canada-russia-china-openings-265455/ []

A Comics Industry with Chinese Characteristics: Manhua Publishing in the PRC and Hong Kong

Recently, I have been working on a few projects to get Chinese comics published in English translation. It’s a tricky proposition, given the limited “brand name recognition” for manhua outside of China, in comparison to the much better known (and therefore more marketable) Japanese manga.
Manhua World Cover
Cover to issue #43 of Comicfans’ weekly Comic World 漫畫世界, published September 26, 2014
 
The fact that so much contemporary manhua is visually indistinguishable from manga (cf. above) doesn’t help things, either, unless of course one is going after the manga demographic. So in large part my work with publishers so far has been to steer them towards Chinese comic book artists with more unique styles that touch on topics which would appeal to a more general comics reader.
It’s much easier said than done, however, since artists with more unique styles tend to also be iconoclasts in their storytelling as well. In this post I’m going to introduce some of the major players in the Chinese-language comics industry, and also talk a little about the economic side of making comics in mainland China and Hong Kong.1
  1. Taiwan is another area that deserves further study, although my preliminary research suggests that the Taiwanese market is more heavily influenced by Japanese comics than either the PRC or Hong Kong. []

Zhang Guangyu’s Manhua Journey to the West (1945) – Part 6 of 6

Zhang Guangyu’s 張光宇 (1900-1965) overlooked masterpiece, Manhua Journey to the West 西遊漫記 was originally created in the fall of 1945 while Zhang was living in the wartime capital of Chongqing. Deeply critical of the ruling KMT government, it was eventually banned and did not see print for another 13 years. For the sake of introducing Zhang’s out-of-print work to a larger audience, I’ve taken the liberty of translating the entire 60 page comic into English.

In the final part of this 6 part translation, the pilgrims have just escaped from the forces of False Qin and are sitting down to rest when a “black force” 黑气 approaches and steals their shadows. The black force is revealed to have come from the nearby the “black market” 黑市场, a shadowy realm of ghosts and demons guarded by a giant cat with one eye open and the other eye closed. Mice are said to be flowing into and out of a hole in the wall of the market, “like cars speeding back and forth on a motorway.” Eventually the pilgrims’ shadows make their way into the market where they immediately fall into a slimy pond full of talking carp who tell them to, “Seek profits! Seek profits!” They are rescued by a giant skeletal hand only to find themselves facing the “Spirit of Idle Capital” in the “Hall of Laughter and Curses.” The spirit takes a fancy to Zhu Bajie and follows his shadow back into the human realm to take over his body. Zhu Bajie then apparently abandons his body, somehow tricking the spirit.1 Once back in the human realm, Tripitaka asks Monkey to find some food and water for him. Monkey manages to find a stream inside a cave, but just as he is about to fill a kettle with water, a three-headed dragon appears and challenges him to a riddle…

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51. 那 四个影子再往前走几步,却被一堵城墙挡住,只是寻觅不着一个城门,正在迟疑间,忽然墙边有淅索之声,接着发现那 边有个小窟窿,许多耗子钻进钻出,好像马 路上的汽车一样驶来驶去,在另一个角落里却见有一对猫眼睛,一只眼开,一只眼闭,好像马路上的红绿灯一样,四个影子上前打问:“警察先生,请问如何入 城?”话还没说完,早被那猫脚爪猛的一掌,打进了城。

The four shadows walked another few steps, but found themselves blocked by the city wall. No matter how hard they looked they weren’t able to find the gate. Just as they found themselves in a state of befuddlement, they heard a pitter pattering sound, so they looked around and discovered there was a hole through which a multitude of mice were passing, like cars speeding back and forth on a motorway. To one side there was a pair of cat-eyes, one open and the other closed, appearing for all the world to be nothing else than a pair of traffic signals. The four shadows went forward to ask, “Mr. Police Officer, please, can you tell us how to get into the city?” Before they had finished asking their question, the cat had snatched them up with violent movement of his claws and pulled them into the city.

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  1. This part of the narrative is very unclear to me, so I’m open to suggestions as to how to interpret it. []

Zhang Guangyu’s Manhua Journey to the West (1945) – Part 5 of 6

Zhang Guangyu’s 張光宇 (1900-1965) overlooked masterpiece, Manhua Journey to the West 西遊漫記 was originally created in the fall of 1945 while Zhang was living in the wartime capital of Chongqing. Deeply critical of the ruling KMT government, it was eventually banned and did not see print for another 13 years. For the sake of introducing Zhang’s out-of-print work to a larger audience, I’ve taken the liberty of translating the entire 60 page comic into English and will be posting it in installments on my blog over the next several weeks.

In part 5 of this 6 part translation, having taken over the opera from the actor playing him, Monkey has the his furry subjects learn various trades so that they can become farmers, merchants, builders, artists, and poets, eventually transforming the Mountain of Flowers and Fruit into a modern metropolis, complete with high rises and smoke stacks. An idle month passes in the Epang Palace before the pilgrims realize that they are getting no closer to their goal of retrieving the Celestial Tome from the Western Paradise, so they decide to leave the comforts of the palace and continue on their quest. The mayor warns them of the dangers they will face travelling through the neighboring kingdom of “False” Qin. This kingdom of monsters is said to be ruled by the “Japanese Dwarves” 倭秦with assistance from defectors from Ey-qin. For their protection, the mayor offers to send an escort of air balloons to take them over False Qin. The pilgrims agree, but as they are passing over False Qin, Monkey spies artillery being set up to attack the fleet…

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41. 于是改编的“水廉洞”新剧出现在台上,果然情形不同,表现众猴子个个在勤俭进行工作中。

When the new version of “Water Curtain” was performed on stage, the situation was indeed quite different, showing all the little monkeys hard at work.

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Zhang Guangyu’s Manhua Journey to the West (1945) – Part 4 of 6

Zhang Guangyu’s 張光宇 (1900-1965) overlooked masterpiece, Manhua Journey to the West 西遊漫記 was originally created in the fall of 1945 while Zhang was living in the wartime capital of Chongqing. Deeply critical of the ruling KMT government, it was eventually banned and did not see print for another 13 years. For the sake of introducing Zhang’s out-of-print work to a larger audience, I’ve taken the liberty of translating the entire 60 page comic into English and will be posting it in installments on my blog over the next several weeks.

In part 4 of this 6 part translation, Monkey narrowly avoids a full-body haircut only to land on the giant Peach of Immortality, where he finds himself surrounded by dancing immortals and fairies. Monkey concludes that he has somehow arrived back at the Southern Heavenly Gates. Princess Iron Fan appears in the middle of the festivities and asks Monkey to dance and rather surprisingly, given his characteristic lack of interest in the opposite sex in the original novel, he agrees. After their dance, Princess Iron Fan leads Monkey into the garden to “whisper sweet nothings among the grapevines.” Just when things are starting to heat up though, an unpleasant surprise soon cools Monkey’s ardor…

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31.   悟空从那美女剪刀下挣扎脱身,踉踉跄跄逃出门外,回头一看见有“美发宫”三个字写着,他方[才?]明白道:“老孙的毫毛根根都有用处,如果把他剃净岂不难看,而且 世界哪有光皮猴孙,幸亏老孙机警逃得出来,否则就大上其当了!”说着他倒反而得意起来,反背着手洋洋地沿走廊踱过去,忽然脚底下的地板自己转动起来,一霎 时像旋转乾坤般的转得孙猴儿头昏眼花,手足无措,翻了不知多少筋斗。

Sun Wukong wrestled free from the woman with the scissors, stumbling and staggering out of the door, he looked back to see the words, “Palace Hairdressers,” leading him to say, “Every hair of Sun Wukong’s downy fur has its use, if you shaved me bare, wouldn’t I look terrible? Besides, who’s ever heard of a hairless monkey? Good thing that the vigilant Sun managed to escape, otherwise I would have fallen into her trap!” Having said this, he began to feel full of himself, strolling down the corridor with his hands clasped behind him, smiling contentedly, when suddenly the floor beneath his feet swiveled and with a whoosh! Sun Wukong spun around like a yin yang sign, leaving him dizzy with blurred vision. He was completely helpless, somersaulting into the void who knows how many times

 

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Zhang Guangyu’s Manhua Journey to the West (1945) – Part 3 of 6

Zhang Guangyu’s 張光宇 (1900-1965) overlooked masterpiece, Manhua Journey to the West 西遊漫記 was originally created in the fall of 1945 while Zhang was living in the wartime capital of Chongqing. Deeply critical of the ruling KMT government, it was eventually banned and did not see print for another 13 years. For the sake of introducing Zhang’s out-of-print work to a larger audience, I’ve taken the liberty of translating the entire 60 page comic into English and will be posting it in installments on my blog over the next several weeks.

In part 2 of this 6 part translation, Monkey and Zhu Bajie run into Lady Mengjiang, who husband has been forced to labor on the wall.1 Monkey promises to seek vengeance and with the help of a crow monster, he and Zhu Bajie are able to track down the Crested Falcon. A battle takes place and Monkey handily dispatches his foe, freeing his master and Brother Sand.  The four pilgrims continue on the “City of Sweet Dreams” 梦得快乐城2 above which floats the Pharaoh’s spectacular palace of air balloons, the Epang Palace 阿房宫.3 The mayor of the City of Sweet Dreams agrees to take the four pilgrims up into the Epang Palace in an elevator, but Monkey is impatient, so he flies ahead on his magic cloud only to find himself face to face with an army of monsters and, possibly even worse, hairdressers…

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21. 孙 悟空朱八戒走在前面,行了一程,只不见师傅与沙和尚随来,心中有些疑惑,孙猴知道有变,一个筋斗云翻上半空,四面一望,并无动静,但见半山腰有一白衣女子 正在哭哭啼啼的喊:“好命苦,我的丈夫,今番又被拉去当壮丁,叫我如何过活呀!……”十分凄切,悟空踏住云脚,翻身落地,上前打问,原来她叫孟姜女,她的 丈夫范杞良是万年老丁,回为没有钱今番又被鸦鸦鸟们奉了毛尖鹰之命强拉去当新丁!孙猴听了,十分愤怒道:“我齐天大圣与你们报仇!”孟姜女拜谢不已。

Sun Wukong and Zhu Bajie went ahead, but they couldn’t find their master or Brother Sand, so they began to feel uneasy. Sun Wukong knew that something was the matter, so he jumped on his magical cloud and sprang up into the sky, looking all around, but no one was out and about. Then all of a sudden halfway up the mountain he saw a woman in white, sobbing and crying out, “Life is so unfair, today my husband was taken away to be conscripted, how can I ever go on!?” Completely at a loss, Sun Wukong stopped his cloud, and turned around to coast to earth. Going up to ask her what was up, he found out she was called Lady Meng Jiang. Her husband, Fan Qiliang, was an old laborer of many years, but because he didn’t have any money he was once again conscripted by the Crow-crow Birds to become a new laborer! Upon hearing this, Sun Wukong was filled with rage and said, “I, the Great Sage Equal of Heaven will take revenge on your behalf!” Whereupon Lady Meng Jiang thanked him profusely.

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  1. This is a famous Chinese legend whose origins can be found in the Zuozhuan commentary to the Spring and Autumn Annals, compiled in the third or fourth century BC. See Wilt Idema’s Meng Jiangnü Brings Down the Great Wall : Ten Versions of a Chinese Legend. Seattle: University of Washington Press, 2008. []
  2. In his 1958 introduction to the print version, Zhang comments that the City of Sweet Dreams was meant to be stand-in for the “decadent and dissolute life in the interior during the war.” A somewhat garbled translation is available here. []
  3. This is the name of a famously grandiose palace which Qin Shihuang began construction on in 212 BC but was never completed. See Lukas Nickel, “The First Emperor and Sculpture in China,” Bulletin of the School of Oriental and African Studies 76, no. 03 (October 2013): 26. []

Zhang Guangyu’s Manhua Journey to the West (1945) – Part 2 of 6

Zhang Guangyu’s 張光宇 (1900-1965) overlooked masterpiece, Manhua Journey to the West 西遊漫記 was originally created in the fall of 1945 while Zhang was living in the wartime capital of Chongqing. Deeply critical of the ruling KMT government, it was eventually banned and did not see print for another 13 years. For the sake of introducing Zhang’s out-of-print work to a larger audience, I’ve taken the liberty of translating the entire 60 page comic into English and will be posting it in installments on my blog over the next several weeks.

In part 2 of this 6 part translation, Tripitaka and his three disciples, Monkey, Pigsy, and Sandy find themselves in the Kingdom of Paper Money, where advances in agricultural production have made it possible to grow money to replace gold and silver. 1 When the the rulers of the Kingdom of Paper Money, Emperor Xizong 熙宗皇帝2 and his wife, Empress Dai Ling 黛玲皇后 discover Zhu Bajie’s special ability, however, they quickly hatch a plan to make the most of this ‘golden opportunity.’ Meanwhile, in the Kingdom of Ey-qin, 埃秦 the Pharaoh3 has dispatched his most trusted advisor, the Crested Falcon 毛尖鹰4 to build a Great Wall of Ten Thousand Li with the help of the cruel “Crow-crow Birds”…

 

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11. 正在闹轰轰,忽然远处气喘喘急步跑来一个人,手持武器喝声:“强盗!敢犯国法,你们休要偷我们的钞票!”大家急得连声说:“抱歉!抱歉!过路只不知底细,未曾问过明白,请教!请教”后来经这个人解释,原来这里是“纸币国”境界,他是看守纸币的围警,纸币可代金银使用,经国王数度改革,现在已由工业生产进至农业生产,全国遍种“纸币”可供大量使用,十分便利。

Just as they were making an uproar, suddenly a breathless person came running over, a weapon in his hands. He shouted, “Bandits! You dare violate the law of land! Don’t even think about stealing our money!” Everyone hurriedly shouted, “Sorry! Sorry! We were just passing by and didn’t know what was what, and didn’t have a chance to understand the situation, please instruct! Please instruct!” In the end, following this individual’s explanation, they learned that this was the border to the “Kingdom of Paper Money,” and that he was a paper money guard. Paper money could be used in the place of gold and silver, and following a number of reforms by the king it had advanced from industrial production to agricultural production. All over the country “paper money” was being grown to meet a massive demand, and all in all it really was rather convenient.

 

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  1. This is a pointed barb at the rampant inflation that was made possible after the Nationalist government took China off the silver standard in 1935 and replaced it with the ‘fabi’ 法币. When war broke out with Japan in 1937, the government began printing money to cover deficit spending. Poor harvests and the outbreak of the Pacific War exacerbated the situation, so much so that inflation averaged more than 300 per cent between 1940 and 1946. Things only got worse as the civil war dragged on, so it seems probable the 1946 banning of Manhua Journey to the West stemmed at least in part from Zhang’s blatant criticism of KMT fiscal policies. See Albert Feuerwerker, “Economic Trends, 1912-49,” in The Cambridge History of China: Republican China, 1912-1949, Pt. 1, ed. John King Fairbank and Denis Crispin Twitchett (Cambridge University Press, 1983), 113–14. []
  2. The historical Emperor Xizong (1119-1150) ruled during the short lived Jin Dynasty and oversaw campaigns against the failing Song dynasty. Another emperor whose name uses different characters, but is pronounced the same is Emperor Xizong 僖宗皇帝 (867-904), one of the final emperors of the Tang whose reign was threatened by agrarian rebellions which eventually led to the downfall of the Tang. Neither are particularly auspicious figures to be referencing. []
  3. Likely a stand-in for Sun Yat-sen. []
  4. Logically, then, this would be Chiang Kai-shek. []

Zhang Guangyu’s Manhua Journey to the West (1945) – Part 1 of 6

In my post on cartoon versions of Sun Wukong, I discussed Zhang Guangyu’s 張光宇 (1900-1965) overlooked masterpiece, Manhua Journey to the West 西遊漫記. Originally created in the fall of 1945 while Zhang was living in the wartime capital of Chongqing, Manhua Journey to the West was initially introduced to the public through a series of popular exhibitions in Chongqing,  Chengdu, Shanghai and Hong Kong. Due to both the limitations of the print industry at the time, and eventual KMT censorship, and the turmoil accompanying the founding of the PRC it was not until 1958 that a book version was finally released by the People’s Fine Arts Press 人民美術出版社出版 in Beijing. In 1998, over three decades after Zhang’s death in 1965, it was republished Shandong Pictorial Press 山東畫報出版社, and from December 25, 2012 to February 24, 2013, the original artwork was put on display in as part of a larger retrospective exhibition of Zhang’s work at the Suzhou Museum 苏州博物馆.

My own exposure to the work came several months ago while reading a recently published collection of essays dedicated to Zhang Guangyu and his works. Before reading this collection, I had primarily thought of Zhang both as a magazine editor and also as an organizer of various influential cartoonists’ organizations. Aside from several memorable covers of Modern Sketch 时代漫画and other magazines he was involved in during the 1930s, I had not seen much of his work as an artist. Fortunately, along with the essays, the editors choose to reprint examples of not only his covers, but also selections from his full color comics, including two pages from the Manhua Journey to the West. Zhang does not seem to have done much work in black in white, nor does he seem to have had much interest in doing simple gag strips. This may explain why he is less well known than cartoonists such as contemporaries Zhang Leping 张乐平 and Feng Zikai 丰子恺, whose black and white cartoons can be easily and cheaply reproduced without much loss in quality. Even online, color works tend to fair more poorly in transmission, since many colors cannot be accurately reproduced by the compressed image file formats which are most commonly used.

Not having access to the original book, or a reprint thereof, however, curiosity drove me to seek out an online version of Manhua Journey to the West. After almost giving up, I was finally able to find a Chinese-language art blog which had reposted the entire series of drawings, with the narration included as text below the image. For the sake of introducing Zhang’s out-of-print work to a larger audience, I’ve translated the 60 page text, as recorded on that blog, with a few edits for what seem to be transcription errors. Enjoy!

 

1945张光宇_西游漫记 (1)

Manhua Journey to the West: Part 1,  written and illustrated by Zhang Guangyu 張光宇

 

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The Many Faces of Sun Wukong: Three Classic Cartoon Adaptations of Journey to the West

Few figures in Chinese mythology seem better suited to being adapted to cartoons than the Monkey King, Sun Wukong 孙悟空:

khoo_monkey

Source:  James Khoo Fuk-lung’s (邱福龍) The Sage King,Issue 1, 2002.

Certainly, Nezha 哪吒 has found some success through his own films and cartoons, such as the classic 1979 Cultural Revolution parable, Nezha Conquers the Dragon King 哪吒闹海. And arguably Guangyu 關羽 , Zhuge Liang 諸葛亮, and Liu Bei 劉備 etc of popular video games such as Dynasty Warriors 真‧三國無双 and manhua series such as Lee Chi Ching’s 李志清 Record of the Three Kingdoms 三國志 share more in common with their mythological counterparts of Chinese folk religion than they do with the real-life historical figures whose names they borrow.

Even so, Sun Wukong surpasses them all. Reading his exploits in the Ming vernacular novel Journey to West 西游記 brings to mind a Looney Toon or Silly Symphony, some 500 years before Bugs Bunny ever delivered his first wisecrack. Consider the following passage:

 “Since hearing the Way,” Sun Wukong said, “I have mastered the seventy−two earthly transformations. My somersault cloud has outstanding magical powers. I know how to conceal myself and vanish. I can make spells and end them. I can reach the sky and find my way into the earth. I can travel under the sun or moon without leaving a shadow or go through metal or stone freely. I can’t be drowned by water or burned by fire. There’s nowhere I cannot go.”1

In another, even more graphic passage, Monkey brags:

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  1. Wu, Cheng’en. Journey to the West. Translated by W. J. F. Jenner. Beijing: Foreign Languages Press, 2003, Chapter 3. []