At the 10th French Comics and Graphic Novels Festival held in Beijing in May, two emerging comic artists from different cultural backgrounds shared not only their work but strikingly similar journeys toward creative independence. Yang Zhi, a Chinese cartoonist, and Cy (Cyrielle Evrard), a French comics artist, both left stable employment to pursue their passion for comics on their own terms. Their stories illustrate how digital platforms and social media are helping comics creators worldwide assert control over their craft.
Yang Zhi, who previously worked as a storyboard artist for film and television, transitioned full-time to comics two years ago with the online release of *The Fox’s Transformation Chronicle*. The series centers on a young fox spirit learning to shape-shift and explores themes of gender fluidity, social expectations, and identity through Chinese folklore. Yang’s work challenges traditional portrayals of fox spirits, often cast as either seductive or powerless females, by questioning rigid gender assumptions embedded in these myths. After building a dedicated online audience, her comic was published in print in 2025 and is now being adapted into an animated film.
Yang attributes her creative freedom to breaking away from industry constraints, noting she no longer wants others to dictate her subject matter. She emphasizes artistic expression over commercial appeal, stating that chasing popularity limits an artist’s choices. “Talent isn’t something you can simply claim,” she says, adding that genuine resonance with readers ultimately drives the spread of her work. Her future projects will continue to prioritize authentic expression without the aim of persuasion.
French artist Cy also took a decisive step toward independence after a conflict with her former employer. Leveraging social media, she built a following by sharing sketches and everyday glimpses of her creative process in real time. Her graphic novel *Radium Girls* recounts the largely forgotten story of female factory workers in New Jersey in 1918 who suffered severe health consequences after exposure to radioactive paint. The book, first published in France in 2020 and later translated for North American and Chinese audiences, reflects Cy’s commitment to telling socially relevant stories grounded in historical research.
Cy believes artists should remain socially engaged and sees freelancing—despite its financial uncertainties—as preferable to traditional office work. She describes the typical publishing model in France, which provides advances against royalties, as a buffer against failure: “If a book doesn’t sell well, I just move on to the next one and find another editor.” Cy also acknowledges the challenges of commercial work, including repetitive revisions that often return to the original idea.
During the festival panel in Beijing, Yang and Cy joined fellow artists Catherine Meurisse and Yu Kun in discussing the impact of commercial projects on artistic voice. Both Yang and Cy expressed reservations about working under commercial constraints, stressing the importance of autonomy.
The evolving landscape of comics creation is increasingly defined by the notion of the “one-person company,” where creators independently build audiences and distribute their work with support from social media and digital tools. Both Yang and Cy advise emerging artists to focus on creative passion without initially worrying about commercial success. Yang encourages creators not to calculate costs before starting projects, while Cy urges confidence in the inherent value of one’s work.
Their stories highlight a broader shift in the global comics industry—one where artists seek to reclaim control over both their narratives and their careers.