Nepal: ‘I was 14 when I was sold’
Panel from Dan Archer’s “Nepal: I War 14 When I Was Sold.”
Dan Archer has some interesting reporting in the BBC News magazine today. He has a comic story about human trafficking in Nepal. Instead of writing a traditional narrative, Archer turned his report into a comic. Some of it is typically “illustrated narrative,” but that seems unavoidable in such a comic. This is a new area of journalism that is being explored by the BBC, so kudos to them.
The watercolor is very nice, but most importantly, this is a good piece of journalism with multiple sources and quotes that fits well into the comic format. Hopefully, we’ll get to see more of this from Archer and the BBC.
A Sad Clown
Another sad clown that I drew
South Africa’s “Madam & Eve” Turns 20
A panel from “Madam & Eve”
“Madam & Eve” is a daily comic strip published in twelve South African newspapers and one Namibian newspaper. Since 1992, “Madam & Eve” has followed the intertwined lives of Madam Gwen Anderson, a greedy white woman, and Eve Sisulu, a maid looking for a raise.
Two years before the strip began, Apartheid was still in practice. Two years after the strip began, the first free elections were held. Thus, the strip has endured many of the social, political, and cultural changes in South Africa. Although the strip revolves around Madam and Eve, it frequently takes character breaks to satirize national themes, such as political parties, corruption, and racism. President Jacob Zuma and his African National Congress are frequent targets for the comic, as is Zimbabwe’s Robert Mugabe.
Nevertheless, the main theme of “Madam & Eve” is the domestic relationship between the employer and the employee. They frequently quibble about money and the workload. Madam watches TV and reads the paper all day while Eve irons the clothes (occasionally sleeping on the ironing board, a la Snoopy on his doghouse), washes the floor, and does the dishes.
The comic is currently written by Stephen Francis and drawn by Rico Schacherl. Interestingly, Francis is from the United States and Schacherl is from Austria. During the strip’s first ten years, South African Harry Dugmore contributed as well, though he is no longer involved.
Artistically, the comic is similar to contemporary American strips. The drawings are light and airy. The strip is somewhat digitized with panels of computer-generated text occasionally added. Like most strips today, the lettering is unfortunately digital, as are the colors. The black and white strips speak for themselves and there is no need for tacky colors, even online.
Because of its popularity, “Madam & Eve” was adapted to television in 2000. Four seasons aired.
“Madam & Eve” is not the only South African comic strip. “Jet Jungle,” a defunct action strip, and a few other short-lived comedy strips have seen print; however, none have had the staying power of “Madam & Eve.”
“Madam & Eve” – Official site with strips
Penguin Films - South African studio that developed the TV show
“Madam & Eve” at 20: In Pictures – 10 December, 2012, The Guardian
Favorite Comic Strips
While sequential art has been around for hundreds of years in one form or another, comic strips are a relatively new invention. They were added to newspapers starting in the late 1800s. Hundreds of strips have come and gone in the United States. Perhaps thousands have come and gone in major newspapers all over the world. I can’t say that I’ve read even a fraction of the titles that are out there; however, of those I have read, four keep coming back to me. These four comics, for me, are the best of the comic strip medium.
Pogo and the Deacon from “Pogo”
“Pogo” by Walt Kelley – No other comic strip matches the intense situational comedy and characterizations in “Pogo.” The art is lush, fluid and organic. The writing is clever and sharp. The characters are true. Their language is melodic, but never forced, and often backed up with lovely calligraphy. I can’t ask for more in a comic strip. Several story arcs occur at the same time and some of the arcs last several months, giving a great sense of depth from each story. Because he frequently touched political nerves, some newspapers censored “Pogo” at times, causing Kelley to lash out in the introductions of his uncensored paperbacks. The satirical references to J. Edgar Hoover and Lyndon B. Johnson still make sense and are funny, even for readers unfamiliar with the times. “Pogo” is absolutely beautiful literature.
Opus and Milo from “Bloom County”
“Bloom County” by Berke Breathed – My older brother liked “Bloom County” long before I did. I read my brother’s paperback collections as a kid and now I am collecting the new hardback editions. Although there are some older cultural references to Tammy Faye Baker and Boy George, the strip holds up extremely well. “Bloom County” relies on the characters and Breathed is not afraid to change them, so the strip never falls in a rut. Because he was able to talk about cultural and political topics (even getting his strip put on the editorial page of some papers), Breathed always had new gags and ideas. “Bloom County” never fails to make me laugh and that’s the mark of a great strip.
Professor Yorgle, King Aroo, and a bird from “King Aroo”
“King Aroo” by Jack Kent – In college, I spent a lot of time reading comic strips on microfiche. I discovered a few months worth of “King Aroo” and I fell in love with it. The characters are innocent and enjoyable, defying the stereotypes of a royal kingdom. The entirety of the strip pushes the innocence of his characters into wonderful and humorous situations. What impresses me the most about Kent’s writing is that he squeezes several puns and gags into every daily strip. It’s thick with humor. Kent’s art is loose, but very pretty. IDW released the first two years of “King Aroo” in hardback a year or two ago with promises to release the other eight years (we’ll see if it happens). It is great fun to read.
“Calvin and Hobbes” getting ready for a talk
“Calvin and Hobbes” by Bill Watterson – After Woodie Harrelson, Paul Brown and I, Bill Watterson is probably Ohio’s favorite son. “Calvin and Hobbes” lasted only ten years, but glorious they were. I was fascinated by the strip for years. In retrospect, it’s amazing that Watterson squeezed so many silly gags out of so few characters. For the entire run of the series, Calvin tries to avoid work by sneaking into fantasy worlds and misconstruing traditions. Most stories last about two or three weeks and those story lines are frequently invoked, such as Calvin’s trials with his babysitter or his science fiction alter-ego getting lost. Artistically, the weekdays strips are economic and bare while some of the Sunday strips are colorful and detailed. A 20 pound “box set” of strips called “The Complete Calvin and Hobbes” was recently published. It is very pricey, but nice. Fortunately, paperbacks can still be found pretty cheap.
Renting Movies Was Hard
A page from 1999
Bruce Li was a real actor. He played Bruce Lee in several movies.
Bal Thackeray, 1926-2012
Bal Thackeray cartooning for Marmik.
Hindi cartoonist and fundamentalist leader Bal Thackeray died this week on November 17, 2012.
Thackeray began his public life as a cartoonist for the “Free Press Journal” and “The Times of India.” Thackeray left the “Free Press Journal” because their editors wanted him to follow a leftist viewpoint. Thackeray was quickly becoming something of a rightist. In 1960, he started his own fundamentalist cartoon weekly, Marmik, which incited readers to stand up against non-Marathis, an ethnic group in western India, at the expense of other ethnic groups in Mumbai, where he was based.
By 1966, he dedicated himself full-time to the fiery politics of his Shiv Sena ultra-nationalist party. His followers began calling him “Balsaheb” because of his supposed wisdom. In 1989, he would start “Samna,” a newspaper for his party, though his days as a journalist were long gone. His politics were nationalistic and far too right-wing to do the country any good. He said that Muslims were “spreading like a cancer and should be operated on like a cancer.” He praised Adolf Hitler. His incendiary remarks are often quoted during bouts of ethnic violence in India during the late ’80s and early ’90s.
Thackeray died of cardio-resperatory failure.
Bal Thackeray’s relationship with cartoonist RK Laxman
More examples of “Marmik” cartoons
The Legacy of Bal Thackeray, BBC News
“Persepolis” and “Zahra’s Paradise” – Comics from Iranian Authors
A typical panel from “Persepolis,” a narration followed by an illustration.
“Persepolis” is a comic written and illustrated by Marjane Satrapi. It follows a one or two year period of Satrapi’s life at the beginning of the Islamic Revolution in Iran. It was first published in 2000 and has gone on to sell over a million copies in many European languages (though not in Farsi, the language of Iran).
“Zahra’s Paradise” is a comic drawn by Khalil, an anonymous Arab artist, and written by Amir, an anonymous Persian writer. The story is set just after the 2009-2010 Green Revolution in Iran. It was published on the internet starting in 2010 as a web comic translated in many languages, including Arabic and Farsi. In 2011, it was published in a hardcover format in English.
The ten-year-old protagonist of “Persepolis” is well-versed in Marxism.
Naturally, the two comics draw a lot of comparisons because they are both set in Iran. “The Independent” from England compared the two, saying the were very similar comics. They are not similar.
A typical narration/demonstration panel from “Treasury of Fact and Fiction” (1961). “Persepolis” uses this same narration/demonstration style, although the fact that this is about Karl Marx has nothing to do with Satrapi’s initial interest in Marxism.
“Persepolis” is a good piece of literature; however, it is more like an illustrated book than a comic. There is a small narration followed by a picture that demonstrates the small narration. This technique is somewhat outdated. Being Satrapi’s first comic, I would not expect “Persepolis” to have the artistic richness that combines words and images to create a verbal and visual masterpiece. Librarians who don’t follow the medium absolutely love this style, though. It is easier to for the non-comics fan to digest and the Spartan pictures are appealing because they are “adult.” There is no need to contemplate the art. There are no difficult visual cues or graphic themes. It’s just a simple narration with pictures.
“Persepolis” is self-indulgent at times, as are all autobiographies. The protagonist enjoys discussing her rebellious ways as she tries to figure out the Iranian Revolution. While you would think that a ten-year-old would be naive and pitiable, Satrapi is able to discuss revolutionary theory with the best of them. Her ironic demeanor outsmarts her parents and teachers. Perhaps this is not an unrealistic character trait. Perhaps it is a national flaw: at a time when Iran was delirious, the child remained sane.
The art and words of “Zahra’s Paradise” are both needed.
“Zahra’s Paradise” is the optic opposite of “Persepolis.” There are long-running artistic themes from panel to panel as well as spreads that add to the artistry of the script. The imagery is always amazing. Individual panels often have powerful artistic effects and always have beautiful pictures. This artistic vision holds its own against the best comics. It is easy to dote on the art, which is rich, expressive, and organic.
Page from “Zahra’s Paradise” that demonstrates beautiful art and realistic writing.
The writing and story also stand out. “Zahra’s Paradise” takes place in the days after the 2009-2010 Green Revolution, a protest movement that was violently squashed. Mehdi is a fictional protestor who goes missing. His college-age brother and mother try to find out what happened to Mehdi. As the story progresses, the reader meets a hodgepodge of realistic characters, including the mother’s chain-smoking best friend, a copy shop owner who pirates anything the regime doesn’t like, and bureaucrats who are forced to tow the line despite their better judgment. The comic evokes political figures like Ayatollahs, mullahs, and Neda. It could have easily been written as a hard-boiled detective story but the author went out of his way to write a story with tangible characters who act logically.
Both books are definitely worth reading.
“Persepolis” is a librarian’s dream. It is a quick, easy read that provides a look at one family’s view of the Iranian Revolution. While it might not be the comic critic’s most beloved format, it is certainly important because the style reaches a wide audience. “Zahra’s Paradise” is a comic reader’s dream. It requires attention to both the story and the art as it describes the Green Revolution. It is rich in artistry and prose, making it a wonderful piece of literature.
Vbi Djengotten and Indonesian Comics
Scene from Djenggotten’s “33 Pesan Nabi”
Vbi Djenggotten is an Indonesian writer who is one of his country’s few remaining comic professionals. In his most recent comic, “33 Pesan Nabi,” which is being serialized, he explains concepts of Islam. It’s hard not to cheer for such an enthusiastic writer who not loves the medium of comics, but also loves what he is writing about. Unfortunately, the comics are not available in English.
Below is an excerpt of an article from the BBC:
Indonesian Cartoonists Keep Up with Competition, by Karishma Vaswani, BBC News, September 27, 2012
Surjorimba Suroto sighs as he recalls the good old days of Indonesian comics.
Wistfully leafing through pages at his local comic store, he explains that there was a golden era from the 1960s to the 1980s when many titles were household names.
Rather than superheroes, they focused on Indonesian life and folk tales.
However, today local comic sales have taken a beating. Sadly, Mr Suroto says, they are just not cool any more.
Younger readers now seem to prefer the work of foreign firms such as US-based Marvel and DC Comics, or styles and characters such as Japan’s Manga and Naruto.
“These days a young boy has to have a Superman or Naruto comic magazine on his shelf, otherwise no-one will want to be his friend,” Mr Suroto says.
But despite this bleak prognosis, over the past five years, fresh blood has been injected into Indonesia’s comic culture.
Keen to create their own, more home-grown, voice and images, a number of young Indonesians are finding innovative ways to draw in an audience.
And they are being noticed…
One of the featured artists [at an exhibition] is 30-year-old Veby Surya Wibawa, more popularly known as Vbi Djenggotten…
The author of works including Married With Brondong (Married to a Younger Man) and Aku ber-Facebook Maka Aku Ada (I Facebook, Therefore I Am), he has connected with his Indonesian audiences by talking to them about their religion.
His most recent comics series, 33 Pesan Nabi (33 Messages from the Prophet), tries to explain the ancient teachings of the Prophet Muhammad to his followers in a modern-day context.
Vbi is one of few comic artists in Indonesia to have tried this approach.
The comic book is now on Indonesia’s best-seller list – a testimony to its popularity among young people. It will also be published in Malaysia soon.
“I wanted to show people that Islam isn’t a religion of bombs and violence,” Vbi said, at his studio in the city of Malang in East Java province.
“That’s all anyone sees these days. I hope through my art people will see a different face of Islam.”
Another article from The Jakarta Post discusses Djenggotten’s biography in more detail:
Vbi Djenggotten: Universality of Comic Books, by Niken Prathivi, The Jakarta Post, September 16, 2012
…A conservative Muslim, [Vbi Djenggotten] sports a long beard and wears celana ngatung (loose trousers with legs cut at ankle-level) that are commonly worn by traditional Muslims in Indonesia.
But ankle-length pants are as far as he goes with his religion. On the paper, he is a prolific artist that can find humor from subjects ranging from the hadith (the words and deeds of Prophet Muhammad) to Facebook…
Among his concerns is how Indonesia, the country with the largest Muslim-majority population in the world, is often portrayed as a nation of “hard-liners”.
“Through these comic books, I portray a different kind of Muslim who actually has great universal values that every one shares.”
He also has produced other solo comic books titled Aku ber-Facebook Maka Aku Ada (I Facebook, Therefore I am) and Mangan Ga Mangan Penting Eksis! (Eating or Not, Stay in the Spotlight) in 2009; as well as a collaborative comic book with his wife, illustrator Mira Rahman, titled Married With Brondong (Married to a Younger Man) — which was reprinted under the title Bo & Jo in 2010...
As a young boy, Veby was an avid fan of several local and international comic books, including Javanese graphic novels by the late Indonesian comic maestro RA Kosasih as well as Belgian’s Smurf by Peyo and the Japanese manga 20th Century Boys by Urusawa Naoki…
…Veby says meeting Mira, the love of his life, was among his most important journeys. Like a match made in heaven, he and Mira, an architecture undergraduate from University of Indonesia and fellow comic aficionado, met on the Internet in May 2007...
“We decided to meet face-to-face for comic reason. In September, I proposed to her and by the end of 2007 we got married,” says the father of a four-year-old.
…After facing challenges when distributing Aku ber-Facebook Maka Aku Ada and Married With Brondong independently, Veby decided to directly offer his solo comic books to a publisher…
“I do comic books because I simply want to share all the good things in life,” Veby says.
On Sept. 9, he published his latest work called 101% Cinta Indonesia (101% Love Indonesia) — that talks about everything about the country, including corruption.
1 comment