Hervé Bourhis, a French cartoonist, has drawn inspiration from a variety of artistic and cultural figures, including Jack Kirby, Steve Ditko, and Yves Chaland. His journey began with exposure to American comics, which he later complemented with an appreciation for French comics from the 1950s. This era had a significant impact on his artistic development, especially after he encountered the work of Yves Chaland through the album Jeune Albert. Bourhis recalls this as a pivotal moment in his career. He first attended the Chaland Meetings around 2009, accompanying artist Christian Cailleaux on a graphic biography of Boris Vian. Now a guest of honor at the event, Bourhis reflects on his transition from a young participant to a respected figure in the community. Over time, Bourhis has shifted his artistic style from a focus on virtuosity and realism to an emphasis on purity, synthesis, and the "correct line." He sees his work and that of Chaland as a form of nostalgia, though he clarifies that he did not experience the 1970s firsthand. Instead, he is drawn to the era's perceived creativity and boldness in mainstream culture. His artistic influences began in 1988, when he was 14 years old, and discovered the Beatles, House Music, and became interested in politics due to the 20th anniversary of the May 68 protests in France. Originally focused on drawing, Bourhis transitioned to writing after the birth of his first child, which made drawing difficult due to lack of sleep. He has collaborated with Rudy Spiessert on several projects, including Stéréo Club. His interest in cinema is evident in his work, particularly in Le Teckel, which he views as an exercise in cinematic style. While he rejects the influence of Audiard, he feels closer to Jean-Loup Dabadie and Yves Robert, whose dialogues he considers natural and authentic. Bourhis has developed an interest in documentary-style storytelling, inspired by his childhood fascination with the book Histoire du théâtre dessinée by André Degaine. He sees his documentary works as explorations of how cultural and historical phenomena have shaped the present. Personal experiences, such as a heart attack, have led him to focus more on his own subjectivity in his work, rejecting projects that do not align with his personal vision. Despite the increasing diversification of his work into audiovisual adaptations, Bourhis views these as opportunities that enhance his freedom as a comics author. However, he expresses concern about the current state of the comics industry, noting issues such as the pauperization of authors and instability in editorial teams. While he acknowledges his own career improvement, he notes that it occurs within a broader context of industry challenges.