A Dystopian Vision of the Future
In their graphic novel You Must Take Part in Revolution, writer Melissa Chan and artist/activist Badiucao present a chilling vision of a dystopian future. In this world, China is depicted as a brutal authoritarian state, heavily monitored through advanced AI technology that controls every aspect of daily life. Meanwhile, the United States has descended into open fascism, creating a tense geopolitical landscape where a divided Taiwan becomes the focal point of conflict.
The book was conceived over five years ago, and since its creation, the authors have found their bleak predictions eerily accurate, especially concerning technological advancements. Badiucao, who now resides in Melbourne, reflects on how their imagined future has caught up with reality. “When we started, there was no Ukraine invasion from Russia, no conflict in the Middle East, no bombing in Gaza, and no war in Iran,” he says. “Now everything has turned into reality, and AI is also catching up. We feel like we’ve already been caught up by history instead of predicting it.”
The narrative of You Must Take Part in Revolution ends in 2035, but the current trajectory suggests that the story’s grim outlook may soon become reality. “Every index and indication is unfortunately pointing to that very likely ending,” Badiucao notes.
A Personal Story of Resistance
For Badiucao, the graphic novel is deeply personal. As a Walkley Award-winning cartoonist who contributes to The Age, he has faced ongoing harassment from Chinese authorities due to his politically charged work. His family in China has also been targeted, leading him to abandon the anonymity he once used, which had earned him the nickname “China’s Banksy.”
The novel follows three main characters who respond differently to oppression. “Even though they’re facing the same struggle, they make completely different choices,” Badiucao explains. “How should we act? Should we be frozen and try to wait it out like a lot of people in America until waiting out Trump’s second presidency, or should we fight, but which is the better way to fight?”
The story raises difficult questions about resistance. “Do we adapt the Chinese Nobel Peace Prize winner Liu Xiaobo’s motto ‘I have no enemy,’ thus it has to be peaceful protest, or should we do something more aggressive and end up adopting violence?” Badiucao says. The narrative leaves these questions open for readers to ponder, emphasizing that every decision comes with consequences.
The Power of Art and Expression
Badiucao acknowledges the real-world risks associated with his choice to challenge Beijing directly through his work. “The reality is really harsh,” he says. “In daily life I have to look over my shoulder all the time and be aware of all the issues, but in the same time I think making art also served as a therapy for me. I can really forget. Even though my work is about that harsh reality, when you create images, all I’m thinking is composition, tones and lines, words and colours.”
He finds comfort in the idea that a single individual armed only with pen and paper can unsettle a vast regime like the Chinese government. “The Chinese government knows how powerful art can be, and if they cannot control it, they choose to destroy it,” he says. “I feel art serves almost like a glue between people because it talks a language that maybe some people are incapable of expressing, but it doesn’t mean those words and meaning are not circulating in their minds.”
Festival of Dangerous Ideas
Badiucao and Chan will speak about their work at the Festival of Dangerous Ideas in Sydney next month. This event brings together thinkers and artists such as Salman Rushdie, Glenn Loury, Cory Doctorow, and Pussy Riot’s Maria Alyokhina.
The festival, which runs from August 20 to 30, has expanded to 10 days and includes art, film, and excursions alongside talks. Festival director Danielle Harvey emphasizes the importance of confronting complex global challenges. “The world is so much more dangerous than ever,” she says. “So 10 days feels hardly adequate even to scratch the surface.”
Harvey highlights the need to engage with radical ideas in the face of crises such as AI, climate change, and the rise of authoritarianism. “Simplicity is nice if you can afford it. I don’t think we can afford it,” she adds. “Let’s hear from other people, let’s challenge ourselves, let’s sit in that complexity, and have fun while we do it too.”
The festival aims to foster dialogue and encourage audiences to confront difficult truths. “This is an offer to not retreat, to come together, fill your brain or your eyeballs and face that complexity,” Harvey says. “There is no other festival of dangerous ideas in the world. Only Sydney has one, which I think is pretty cool.”
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