Sceneario.com : Bonjour Jung. Pourq

Sceneario.com : Bonjour Jung.
Pourquoi être édité chez Soleil, alors que tu as été auparavant édité chez d'autres éditeurs ? D'autant plus que l'autobiographie ne colle pas vraiment avec le genre habituel des publications Soleil.

Jung : Je travaille pour Quadrant qui est un nouveau label des éditions Soleil. Celui-ci a été créé par Denis Bajram et Valérie Mangin. Ils ont passé le flambeau à Corinne Bertrand qui vient des éditions Dupuis, et précédemment des éditions Delcourt. Je connais Corinne depuis longtemps et ça faisait un bon moment qu’on parlait de travailler ensemble. Évidemment, il aurait été légitime que cette BD très personnelle sorte chez Delcourt qui m’édite et me fait confiance depuis 15 ans, mais l’envie de travailler avec Corinne fût plus forte. C’était malgré tout un choix très difficile à faire. Mais bon, je suis un grand garçon, donc j’assume et je ne regrette pas mon choix.
En quittant Dupuis, elle a reçu des appels du pied de Futuropolis et de Soleil. Pour des raisons qui ne regardent qu'elle, elle a choisi Soleil avec sa toute nouvelle structure Quadrant qui ne demandait qu'à être développée, c'était un véritable challenge pour elle. Je l’ai tout simplement suivie. Maintenant est-ce que ma BD colle avec l’esprit Soleil ou non, je ne sais pas, mais elle colle parfaitement avec l’esprit Quadrant ! De toute manière, peu importe d’être dans l’esprit d’un éditeur, du moment que le bouquin est bon, c’est le principal.


Sceneario.com : Qu'est-ce qui t'a fait choisir ce format (170 x 240 mm, 152 pages) et le noir et blanc ?

Jung : Je voulais travailler sur un format A4, papier machine, en noir et blanc avec un traitement en noir et blanc et au lavis. Ce format et cette technique me permettent d’avancer très rapidement, je rentre moins dans les détails, je vais directement à l’essentiel. Ainsi, je peux faire 20 planches toutes les 2 semaines, scénario compris. C’est une manière de travailler très euphorisante, moins laborieuse. J’ai toujours aimé le noir et blanc qui d’ailleurs s'est tout de suite imposé pour ce récit autobiographique.


Sceneario.com : Dans cet album, bien qu'on reconnaisse la finesse de ton trait, le style est différent (plus "simple", personnages plutôt caricaturaux ...), est-ce que ça s'est aussi imposé, comme le noir et blanc ?

Jung : Les personnages sont plus caricaturaux, mais beaucoup plus vivants et expressifs que dans tous mes autres albums. Je voulais rendre ce petit garçon attachant, que le lecteur aie envie de passer du temps avec lui. Certes, il est grimaçant, moqueur, tendre, triste parfois, mais extrêmement humain finalement. Le style est plus rond, plus abordable, je n’ai pas fait beaucoup de recherche, j’ai dessiné comme lorsqu’on dessine sans contrainte, spontanément. Du coup, j’ai pris beaucoup de plaisir à dessiner cette histoire .


Sceneario.com : Tu as dessiné Yasuda et La jeune fille et le vent sur des scenarii de Ryelandt, Okiya sous la plume de Jee-Yun, qui a aussi collaboré à l'adaptation de Kwaïdan. Tu es ici pour la première fois seul maître à bord, est-ce que cela a été difficile ?

Jung : C’est un récit autobiographique, donc je n’ai pas dû me creuser beaucoup pour trouver une histoire. L’originalité de cette bd est je pense dans le traitement, le ton particulier et décalé. J’ai raconté mon histoire en imaginant que c’était celle d’une autre personne, donc ça m’a permis de prendre du recul, et de raconter les choses avec un certain détachement. D’où l’utilisation de l’humour, de la dérision.


Sceneario.com : Le thème de la quête identitaire n'est pas nouveau, déjà dans Kwaidan par exemple : était-ce annonciateur de ta biographie ?

Jung : Pas que dans Kwaidan, dans tous mes albums, avec ou sans scénariste on retrouve les mêmes thèmes : la quête de l’identité, le déracinement, l’Asie, etc. Tous ces thèmes sont liés directement à mon vécu et mes questionnements existentiels. Seulement, dans Couleur de peau : Miel j’aborde sans détour les problèmes ou les joies qui sont liés à l’adoption internationale coréenne, phénomène étrange et unique . Nous sommes 200 000 Coréens adoptés éparpillés dans le monde, ça méritait qu’on en parle dans un livre, non ? Disons que mon autobiographie était un prétexte pour aborder ce sujet.


Sceneario.com : Voulais-tu de toute façon faire cette autobiographie depuis longtemps, un projet qui a mûri doucement ou bien est-ce venu plus tard, comme un déclic ?

Jung : Au départ, Jee-Yun ( mon épouse) et moi-même voulions raconter sous forme de gags des histoires de problèmes de couples, des relations entre les femmes et les hommes. Pour diverses raisons ça ne s’est pas fait. Ensuite, je lui ai proposé de raconter l’histoire de nos adoptions en BD. Offre qu’elle a déclinée, car elle ne se sentait pas prête, et encore moins de raconter son adoption avec humour ! Donc, je me suis jeté à l’eau tout seul. J’ai pris une feuille papier machine qui traînait sur ma table, j’ai tracé un cadre et j’ai réalisé les 3 premières pages en 4 heures. J’étais super excité, car le style s’est imposé de lui-même, spontanément.
J’ai montré ces premières pages à Jee-Yun, qui m’a dit « Fonce ! C’est super ! »


Sceneario.com : T'est-il plus difficile de raconter ta vie que de raconter d'autres histoires ?

Jung : L’un n’est pas plus facile que l’autre. Dans Couleur de peau : Miel ce qui a été difficile, c’était de ne pas rentrer dans le piège de l’autobiographie à l’eau de rose qui se contemple le nombril en se lamentant. Je ne voulais pas de ça ! Pas de misérabilisme était ma seule contrainte. Ce qui ne veut pas dire que le lecteur ne peut pas être ému ou touché par cette histoire. Il ne faut pas confondre misérabilisme et émotion ! J’aimerais que les lecteurs soient touchés, émus par ce petit garçon de 5 ans, qu’il les interpelle, qu’il les amuse, qu’il les fasse rire et, idéalement, qu’il les fasse réfléchir.


Sceneario.com : As-tu lu d'autres autobiographies en BD avant de te lancer dans la tienne ? Est-ce qu'elles ont eu une influence sur la réalisation de ton histoire ?

Jung : J’ai lu Shenzen et Pyong Yang de Guy Delisle, et les carnets de bord de Lewis Trondheim qui m’ont bien fait rire. J’ai lu également Blankets de Craig Thompson et le tome 1 et 2 de Persépolis dont j’ai adoré l’adaptation cinématographique.


Sceneario.com : T'es-tu rappelé tout seul de tout ce que tu racontes dans ta BD ou as-tu eu recours aux témoignages et aux souvenirs de personnes qui ont croisé ton chemin ou t'ont accompagné dans la vie ?

Jung : Tous ces souvenirs était bien ancrés en moi, bien entendu certains souvenirs étaient plus confus, j’ai un peu brodé par-ci par-là, un peu romancé, mais très peu finalement. J’ai réalisé le tome 1 très rapidement, en 4 mois et le seul regard extérieur que j’avais sur mes pages était celui de mon éditrice.


Sceneario.com : As-tu fait lire ton autobiographie à tes proches ? Quelles ont été les réactions pour ceux qui l'ont lue ? Comment penses-tu que cela va être accueilli par ceux qui ne l'ont pas lue ?

Jung : En fait, le tome 1 n’est pas encore sorti en librairie, il ne sortira que le 26 septembre, le tome 2 que j'ai presque terminé sortira en janvier. Donc les seules personnes à avoir lu cet album sont mon éditeur et quelques journalistes ou personnes apparentées qui ont reçu un jeu de copies de l'album. C'est seulement lorsque j'ai terminé les dernières pages et que je les ai envoyées à la fabrication que je me suis vraiment rendu compte que j’allais exposer au public toute une partie de ma vie. Mais là, il était trop tard pour faire marche arrière, et tant mieux, car le sujet de l’adoption a été très peu abordé en BD. Je raconte des choses très intimes, mais avec un ton tellement décalé que je n’ai aucune crainte quant aux réactions des gens ou celles de ma famille. Pour finir, je dis souvent qu’une autobiographie comporte toujours une grande part de subjectivité et que par conséquent n’importe qui aurait le droit de démentir ce que je raconte .


Sceneario.com : Le tome 1 couvre la période de ton enfance et l'entrée dans l'adolescence, de ta découverte par un policier dans les rues de Séoul jusqu'à l'âge de 13 ans. Qu'est-ce qui attend le lecteur dans le tome 2 ?

Jung : Et bien, de mes 13 ans à ma majorité, il s’est passé plein de choses. L’adolescence, les nouvelles rencontres notamment avec d’autres Coréens adoptés, les filles, le dessin, mon voyage au Japon, etc…Et puis d’autres évènements que je ne raconterai pas ici.


Sceneario.com : Es-tu finalement allé en Corée du Sud ?

Jung : Pas encore.


Sceneario.com : Qu'attends-tu de ton voyage dans ce pays ?

Jung : Qu’est-ce que j’attends de ce voyage? Hm, un retour au pays natal. Me confronter à moi-même, à ma culture d’origine, à mes ancêtres…Voir ce fameux orphelinat américain le « Holt », ce marché de Namdaemun à Séoul où le policier m’a trouvé. Aller en Corée pour retrouver ma famille serait illusoire, j’en suis tout à fait conscient et c’est pour cette raison que je ne ferai pas de recherche car je risquerais d’être fort déçu si je ne trouve rien. Donc, j’irai et puis je verrai bien ce qui se passera une fois sur place. J’ai une amie coréenne adoptée qui a retrouvé ses parents, elle est repartie là bas il y a 15 ans et a fondé une association pour que les adoptés d’origine coréenne puissent retourner en Corée et obtenir un visa spécial renouvelable tous les 2 ans avec le « work permit ». Elle a dû se battre contre des moulins à vent, ça a pris des années, mais elle y est arrivée. Donc les choses bougent et toute une structure psychologique, logistique s’est mise en place au fil des années pour aider les adoptés à retourner visiter leur pays d’origine, et pour ceux qui veulent essayer de retrouver leur famille.


Sceneario.com : Tu as vécu un peu en Thaïlande, était-ce une façon de te rapprocher de tes racines asiatiques ?

Jung : Complètement, la Thaïlande éta

결과 (영어) 1:

The Sceneario.com: Hello Jung. Why be published by Sun, while you have previously published by other publishers? As the autobiography sticks not really with the usual kind of Sun publications.Jung: I work for Quadrant which is a new label of the Sun publishing. It was created by Denis Bajram and Valérie Mangin. They passed the torch to Corinne Bertrand coming Editions Dupuis, and earlier editions Delcourt. I know Corinne long and it was a good time there was talk of working together. Obviously, it would have been legitimate that this very personal comic way with Delcourt which edits me and makes me trust for 15 years, but the desire to work with Corinne was stronger. This was despite a very difficult choice. But hey, I'm a big boy, so I assume and I do not regret my choice.Leaving Dupuis, she received calls from the foot of Futuropolis and Sun. For reasons that don't look that she chose Sun with its brand new Quadrant structure seeking to be developed, it was a real challenge for her. I simply followed her. Now what is my BD glue with the Sun spirit or not, I don't know, but it fits perfectly with the Quadrant spirit! Anyway, regardless of being in the spirit of a Publisher, as long as the book is good, this is the main.The Sceneario.com: What is it that did you choose this format (170 x 240 mm, 152 pages) and black and white?Jung: I wanted to work on an A4 sheet, paper machine, black and white with black and white and wash treatment. This format and this technique allow me to move forward very quickly, I get less in detail, I go directly to the essential. Thus, I can do 20 boards every 2 weeks, including scenario. It is a way of working very euphoric, less laborious. I have always loved black and white which also immediately on this autobiographical account.The Sceneario.com: In this album, while it is recognized the smoothness of your stroke, the style is different (more "simple", rather caricatural characters...) is that it also emerged, such as black and white?Jung: The characters are more caricatural, but much more alive and expressive than all my other albums. I wanted to make this endearing boy, that the reader have want to spend time with him. It is certainly grinning, mocking, loving, sad sometimes, but extremely human finally. The style is more round, more affordable, I've not done much research, I drew as when it draws without constraint, spontaneously. So, I took a lot of fun drawing this story.The Sceneario.com: You have drawn Yasuda and the girl and the wind on scenarios of Ryelandt, Oikya under the pen of Jee - Yun, who has collaborated on the adaptation of Kwaidan. You are here for the first time only master on board, is that this has been difficult?Jung: It's autobiographical, so I haven't had dig much for a story. The originality of this comic is I think in the treatment, the particular and offbeat tone. I told my story by imagining that it was someone else, so it allowed me to take back, and tell things with a certain detachment. Where the use of humor, mockery. The Sceneario.com: The theme of the soul-searching is not new, already in Kwaidan for example: was this harbinger of your biography?Jung: Not that in Kwaidan, in all my albums, with or without writer found the same themes: the quest for identity, rootlessness, Asia, etc. All of these themes are directly related to my experiences and my existential questions. Only in skin color: honey I turn without problems or joys that are related to the Korean international adoption, strange and unique phenomenon. We are 200 000 Koreans adopted scattered in the world, it deserves that we talk about in a book, non? Let's say that my autobiography was a pretext to discuss this topic. The Sceneario.com: Wanted you anyway to this autobiography for a long time, a project that has matured slowly or is - this came later, as a click?Jung: initially, Jee - Yun (my wife) and I wanted to tell in the form of gags of the stories of couples issues, relationships between women and men. For various reasons it is not made. Then, I proposed him to tell the story of our adoptions in BD. Offer she declined, because she didn't feel ready, and even less to tell its adoption with humor! So I threw the water alone. I took a sheet paper machine that was lying on my table, I mapped out a framework, and I realized the first 3 pages in 4 hours. I was super excited, because the style is imposed by itself, spontaneously.I showed these first pages to Jee - Yun, who told me ' dark!» That's great! » The Sceneario.com: Is you more difficult to tell your story to tell other stories?Jung: One is not easier than the other. In skin colour: honey which has been difficult, it was not getting into the trap of autobiography of rose water which to contemplate the navel in lamenting. I wanted it to! Prurience was my only constraint. Which does not mean that the drive cannot be moved or touched by this story. Do not confuse compassion and emotion! I would like readers to be affected, moved by this 5-year-old boy, as he calls them, that it amuses them, he makes them laugh and, ideally, it makes them think.The Sceneario.com: Have you read other autobiographies in comics before embark you on yours? Is they have had influence on the realization of your story?Jung: I read Shenzen and Pyong Yang of Guy Delisle, and the synopses of Lewis Trondheim that well made me laugh. I also read Craig Thompson's Blankets and volume 1 and 2 of Persepolis which I loved the film adaptation.The Sceneario.com: You are you reminded about only what you are talking about in your BD or have you had recourse to testimonies and memories of people who have crossed your path or have accompanied you in life?Jung: All these memories was entrenched in me, of course some memories were more confused, I have a little embroidered here and there, a little romantic, but very few eventually. I realized very quickly, volume 1 in 4 months and the single exterior look that I had on my pages was my editor.The Sceneario.com: Did you read your autobiography to your loved ones? What were the reactions for those who have read it? How do you think that this will be welcomed by those who have not read it?Jung: actually, volume 1 is not yet released in bookstores, it comes out that September 26, volume 2 that I have almost completed will be released in January. So the only people reading this album are my editor and a few reporters or related persons who have received a set of copies of the album. It is only when I finished the last pages and I sent them to manufacture that I really realized I was going to expose to the public any part of my life. But there, it was too late to turn back, and so much the better, because the adoption has been little discussed in BD. I tell things very intimate, but with so OffBeat that I have no fear as to the reactions of people or those of my family. Finally, I often say that an autobiography is always a great deal of subjectivity and that therefore anyone would have the right to deny what I say.The Sceneario.com: Volume 1 covers the period from your childhood and entry into adolescence, your discovery by a police officer on the streets of Seoul until the age of 13. That is what awaits the reader in volume 2?Jung: And well, my 13 years at my majority, it is full of things past. Adolescence, new meetings with other adopted Koreans, girls, drawing, my trip to the Japan, etc... And then other events that I will not tell. The Sceneario.com: Have you finally gone in South Korea?Jung: Not yet.The Sceneario.com: What do you expect of your journey in this country?Jung: that is what I expect of this trip? HM, a return to the native country. Compare me myself to my culture of origin, my ancestors... See this famous American Orphanage "Holt", the Namdaemun market in Seoul where the police found me. Going to Korea to find my family would be illusory, I am quite aware and for this reason I won't search because I might be very disappointed if I can't find anything. So, I will go and then I well see what will happen once on-site. I have an adopted Korean friend who found his parents, it is distributed down 15 years ago and founded an association to allow adoptees of Korean origin to return to Korea and obtain a special visa renewable every 2 years with the "work permit". She had to fight against windmills, it took years, but she arrived there. So things are moving and any psychological, logistical structure is put in place over the years to help adoptees to return to visit their countries of origin, and for those who want to try to find their families.The Sceneario.com: You have lived somewhat in Thailand, was this a way you closer to your Asian roots?Jung: Completely, the eta Thailand

결과 (영어) 2:

Sceneario.com. Hello Jung
Why be published by Soleil, while you were previously published by other publishers? Especially as the autobiography does not really fit with the usual kind of Sun publications. Jung: I work for Quadrant is a new label of the Sun editions. This one was created by Denis Bajram and Valérie Mangin. They passed the torch to Corinne Bertrand comes Dupuis editions, and formerly of Delcourt. I know Corinne long time and it's been a while there was talk of working together. Obviously it would have been legitimate for this very personal sort BD Delcourt that publishes me and trusted me for 15 years, but the desire to work with Corinne was stronger. It was still a very difficult choice to make. But hey, I'm a big boy, so I assume and I do not regret my choice. Leaving Dupuis, she received calls from the foot of Futuropolis and sun. For reasons that do not look it, she chose Sun with its new structure Quadrant who asked only to be developed, it was a challenge for her. I just followed. Now do my comic glue with the spirit Sun or not, I do not know, but it fits perfectly with the spirit Quadrant! Anyway, regardless of being in the mind of an editor, as long as the book is good, it is the principal. Sceneario.com: What made ​​you choose this format ( 170 x 240 mm, 152 pages) and black and white? Jung: I wanted to work on an A4 paper machine in black and white with a black and white treatment and wash. This format and this technique allows me to move forward very quickly, unless I go into details, I'm going straight to the point. Thus, I can do 20 plates every 2 weeks, including scenario. It is a way of working very euphoric, less laborious. I always loved the black and white which also was immediately imposed for this autobiography. Sceneario.com: In this album, although we recognize the delicacy of your line, the style is different (more "simple", rather caricatured characters ...), is that it has also imposed, such as black and white? Jung: The characters are caricatures, but much more alive and expressive than in all my other albums. I wanted to make this endearing little boy, that readers have wanted to spend time with him. It is certainly grinning, mocking, tender, sad sometimes, but ultimately very human. The style is rounder, more affordable, I have not done much research, I drew as when drawing freely, spontaneously. So, I took a lot of fun drawing this story. Sceneario.com: You have designed and Yasuda The girl and wind on scenarios Ryelandt, Okiya penned by Jee-Yun, who also collaborated on adapting Kwaidan. You are here for the first time only master on board, is that it has been difficult? Jung: It's an autobiographical story, so I did not have to dig far to find me a story. The originality of this comic is I think in treatment, the individual and quirky. I told my story, imagining that it was that of another person, so it allowed me to step back, and tell things with a certain detachment. Hence the use of humor, derision. Sceneario.com: The theme of the search for identity is not new, already in Kwaidan eg was it a harbinger of your biography? Jung: Not only in Kwaidan in all my albums, with or without a writer we find the same themes: the search for identity, uprooting, Asia, etc. All of these themes are directly related to my experiences and my existential questions. Only in Approved for Adoption frankly I approach problems or joys that are related to the Korean international adoption, strange and unique phenomenon. We are 200,000 adopted Koreans scattered around the world, it deserves to talk about it in a book, right? Let's say my autobiography was a pretext to address this issue. Sceneario.com: Did you want to do this anyway long autobiography, a project that has matured slowly or is it came later, as a click? Jung: At Initially, Jee-Yun (my wife) and I wanted to tell as gags stories of couples problems, relationships between women and men. For various reasons it did not happen. Then I asked him to tell the story of our adoptions BD. Offer she declined because she did not feel ready, let alone tell his adoption with humor! So I threw myself to the own water. I took a sheet of paper machine that was lying on my table, I drew a frame and I realized the first 3 pages in 4:00. I was super excited because the style has established itself spontaneously. I showed these first pages Jee-Yun, who said "Dark! That's great ! "Sceneario.com: Is Te harder to tell your life than to tell other stories? Jung: One is not easier than the other. In Approved for Adoption which was difficult, it was not to go into the trap of autobiography with rose water, which contemplates the navel lamenting. I did not want that! No misery was my only constraint. This does not mean that the drive can not be moved or touched by this story. It should not confuse emotion and misery! I would like the readers are touched, moved by this little 5 year old boy, he calls them, he amuses them, make them laugh and that, ideally, it makes the thought. Sceneario.com : Have you read other autobiographies BD before launching you in yours? Do they have had an influence on the realization of your story? Jung: I have read and Shenzen Pyongyang by Guy Delisle and Lewis Trondheim logbooks that have made ​​myself laugh. I also read Blankets by Craig Thompson and volume 1 and 2 of Persepolis which I loved the film adaptation. Sceneario.com: Have you reminded himself of everything you talking in your BD or have -tu used the testimonies and memories of people who have crossed your path or have accompanied you in life? Jung: All these memories was ingrained in me, of course some more memories were confused, I have a little embroidered by here and there, a little romanticized, but ultimately very few. I realized very quickly Volume 1 in four months and the only outside look I had on my pages was that of my editor. Sceneario.com: Have you actually read your autobiography to your loved ones? What were the reactions for those who read it? How do you think this will be welcomed by those who have not read? Jung: Actually, volume 1 is not yet released in bookstores, it will leave only on September 26, Volume 2 that I have almost finished out in January. So the only people who have read this album are my editor and several journalists or relatives who received a set of copies of the album. Only when I finished the last pages and I have sent to manufacturing that I really realized that I was going to expose to the public a part of my life. But then, it was too late to turn back, and all the better, because the subject of adoption has been very little discussed in BD. I relate very intimate things, but with so quirky that I am not worried about the reactions of people, or those of my family. Finally, I often say that autobiography still has a great deal of subjectivity and therefore anyone would have the right to contradict what I said. Sceneario.com: Volume 1 covers the period of your childhood and entry into adolescence, your discovery by police in the streets of Seoul under the age of 13. What awaits the reader in Volume 2? Jung: Well, my 13 to my majority, it happened a lot of things. Adolescence, new encounters including other adopted Koreans, girls, drawing, my trip in Japan, etc ... And other events that I will not tell here. Sceneario.com: Are you finally went South Korea? Jung: Not yet. Sceneario.com: What do you expect from your trip to this country? Jung: What I expect from this trip? Hm, a return home. I confront myself, to my own culture, my ancestors ... See what the famous American orphanage "Holt" that Namdaemun Market in Seoul where the police found me. Go to Korea to find my family would be illusory, I am fully aware and that is why I will not do research because I might be very disappointed if I can not find anything. So I go and then I will see what will happen once there. I adopted a Korean friend who found her parents, she left over there 15 years ago and founded an association for the Korean adoptees can return to Korea and get a special visa renewable every 2 years with the "work permit". She had to fight against windmills, it took years, but it got there. So things are moving and a whole psychological structure, logistics is in place over the years to help them return to visit their adopted country, and for those who want to try to find their families. Sceneario.com Thou some have lived in Thailand, was it a way to bring you to your Asian roots? Jung: Completely, Thailand eta

결과 (영어) 3:

sceneario.com: hello, jung. "why to be published in the sun, so that you were previously published by other publishers. as the book didn't really fit into the type of publications sun. "jung: i work for quadrant editions is a new label, sun. it was created by denis bajram and valerie mangin.they have passed the torch to corinne bertrand's editions dupuis, and earlier editions delcourt. - i know for a long time, and it was a good time that we talked about working together. of course, it would have been legitimate for this book very kind to me, and makes me by delcourt confidence over the past 15 years.but to work with corinne was stronger. it was, however, a very difficult choice to make. well, i'm a boy, so i assume i don't regret my choice. when was she received calls from the foot of futuropolis and sunshine. for reasons that are only.she chose the sun with its new structure, the quadrant that was waiting to be developed, it was a real challenge to it. i just followed her. now is my comic book the spirit sun fit or not, i don't know, but it fits perfectly with the spirit of it. in any case, no matter be in the mind of a publisher.as long as the book is good, it is the main sceneario.com.


: what made you choose this format (170 x 240 mm, 152 pages) and the black and white? "jung: i wanted to work on a paper machine, in a4 format, in black and white with a black and white processing and washes. this format allows me to move forward and the back very quickly, in the details.i'm going directly to the point. thus, i can do 20 plates every 2 weeks, scenario. it is a way of working, very recreational, and less laborious. i've always loved the black and white which, moreover, was now forced to autobiography.


sceneario.com. in this album, although we recognize the fineness of your linethe style is different, more simple, rather caricatured characters), it also emerged, such as black and white? "the characters are more caricatured jung, but much more lively and expressive than all my other albums. i wanted to make this little boy, the reader's desire to spend time with him. it is grinning, too.sweet, sad sometimes, but very human. the style is fuller, more affordable, i haven't done a lot of research, i have drawn such as when we draw freely and spontaneously. so, i took great pleasure in drawing this.


sceneario.com: you drew yasuda and the girl and the wind on ryelandt scenarios.okiya in the feather of jee yun, who also contributed to the adaptation of kwaïdan. you're here for the first time in command, has been difficult. "jung. it is an autobiographical account, so i don't have to dig very much to get a story. the originality of this book i think is in the processing, the tone and off.i told you my story, assuming it was a person, so i was able to take a step back, and tell a story with a certain detachment. where the use of humor and ridicule.


sceneario.com: the theme of the quest for identity is not new, in kwaidan example: it was a harbinger of your biography? "jung.not only in kwaidan in all of my albums, with or without a the same themes: the search for identity, uprooting, asia, etc. all these issues are directly related to my experience and my existential questions. only in color: honey i am out problems or the joys that are related to international adoption in koreastrange and unique. there are 200, 000 koreans passed scattered across the world, it should talk about it in a book, isn't it? let's just say that my book was an excuse to broach the subject.


sceneario.com: do you want to make this book for a long time, a project that has grown slowly, or is it came later, as a trigger. "jung.at the outset, jee yun (my wife) and i wanted to tell you in the form of jokes stories of couples of relations between women and men. for various reasons, it has not done. then i asked him to tell the story of the adoptions in comics is that it has turned down because she didn't feel ready.and even less about its adoption with a sense of humour. so, i jumped into the water. i took a sheet of paper machine hanging on my table, i have developed a framework and realized the first 3 pages in 4 hours. i was so excited, because the style has imposed itself spontaneously. i showed those pages to jee yun, who told me, "go! go! go! that's great! "(a)the sceneario.com: is it more difficult for you to tell your life story, other stories? "jung: one is no easier than the other. in color: honey, which was difficult, it was not to go into the trap of the autobiography of rose water, which is at the center for grieving. i don't want it. no countries was the only constraint.this is not to say that the reader cannot be moved or touched by this story. countries and should not be confused with emotion. i want readers to be touched, moved by this little boy, 5 years old, he is, he's funny, he made and, ideally, it should consider sceneario.com.


.