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Here’s my page from the Stanford Graphic Novel Project’s latest book, based on the amazing true story of Tsutomu Yamaguchi, one of the few survivors of both of the atomic bombs that were dropped on Japan in the final days of WW2. Yamaguchi was actually at ground zero (within 3km of the blast’s epicentre) for both the Hiroshima and Nagasaki detonations, and his testimony as to the after-effects and devasatation wrought by the blasts is truly unique. The above page is thanks to Topher, one of head thumbnailers and project managers, who gave me the Chris Ware-esque thumbnailed blueprint. Although I baulked at first, it was actually a lot of fun to pencil and I think the multiple actions contrasted with the near-silence of the page works especially well. More on the class’s amazing journey from conceiving of the graphic novel to getting it off to the printers (fingers crossed) within 6 months to follow next week. Once it’s done, that is. Here’s my original post about the project.
A bit more information on Monday’s big news about my Knight Fellowship: it’s essentially a year-long stint at Stanford university during which fellows are expected to develop a project thesis on a specific area of innovation within their journalistic field. Not to mention having full access to the gold mine of Stanford’s classes and resources, fellow Knights and students/faculty. My pitch, as you’ll see from the impressive line-up of project summaries, will involve the creation of a rich content digital comic, taking full advantage of the flexibility of the web’s infinite canvas along with its capacity to stream video, animation and include interactive elements. Once the fellowship begins in September I’ll start chronicling the development of the project as I tie its disparate elements together.
Speaking of innovation, one project that’s been slowly percolating over the last several months has been my work with Fulbright fellow Olga Trusova on raising awareness about human trafficking through digital/interactive comics, in conjunction with the International Organization of Migration (IOM). Olga’s been in the field since the end of last year, visiting NGOs in her native Ukraine and interviewing staff and victims who have dealt with the reality of trafficking first-hand. She then sends me her detailed notes which I translate into comics. We recently premiered the first comic at an NGO meeting in Kiev and are currently revising the artwork to incorporate the feedback, so I’ll post some finish panels sometime next week.
Karla Lara performing at Sunrise Cafe, SFO
Last week I made it down to the Sunrise Cafe in the mission to hear Honduran artist, performer and activist Karla Lara sing and report back on the situation in Honduras. It was a great chance to meet members of the resistance (local to SFO and Tegucigalpa), as well as promote the comic, which went down really well. I’ll be attending the Sunday May 16th meeting at the Berekely Fellowship of Unitarians to sell more comics and talk to delegates fresh from Honduras, so save the date if you’re in the bay area – more details to come. If this is the first you’ve heard of the Honduran comic, then click here to find out more.
The rest of the piece will be published next week by Religion Dispatches. As ever, see below for sources:
Panel 4: Rosen’s quote from this 2005 New Yorker article. The comment about Rosen’s past as an espionage defendant concerns his August 4, 2005 Indictment on suspicion of passing US govt information to Israel. Read more here.
Panel 5: quote from p2 of Kenen’s book, Israel’s Defense Line: Her Friends and Foes in Washington, available to read online here.
Big news: I am delighted, proud and excited to say that I have been awarded a John S. Knight Journalism Fellowship at Stanford 2010-11. For more, here’s the official press release. More on this when I come back down to earth.
At last a full reply (at the very bottom of this post) from Chris Bryant, the Minister responsible for the Overseas Territories on the subject of the Chagossians’ right to return. To read my comic on the issue, go here. Meanwhile, Chris Ware, the visionary comics artist behind Jimmy Corrigan: the Smartest Kid on Earth is in the news for his recent prank cover art for the new Fortune 500 list, which is surprisingly pointed for a graphic novelist who usually steers clear of politics: here are two highlights, including Guantanamo prisoners and an ‘exploitation 
factory’. For the full story and the entire cover art, go here. As always, the piece has attracted its fair share of fans and critics, the latter of whom rails:
“My main objection is that this kind of smarmy, artsy-fartsy assertion of intellectual/political superiority only reaches the people who already know about and are convinced of corruption in the American economy. What’s the point if the people who need to make changes are only offended or don’t even “get it”? Mr. Ware would do better to donate half of what must be a lucrative income to charity, write letters, hold a sign up in front of a capitol building, and or spend his lunch hour serving in a soup kitchen.”
Interesting point, most deflated in my opinion by the flawed suggestions (let’s not even go into the ‘lucrative income’ part) for enacting grass-roots change, but it does beg the question: is laughter the goal of satire, even at the expense of informing a
viewer? It reminded me of a recent piece in the Guardian about the golden era of British TV satire, spearheaded by Spitting Image (see left for a quick intro to the show). Again though, this sort of entertainment could only appeal to those already familiar with the political hot topics of the day, and could arguably be said to only flatter the egos of the same people it sighted in its satirical crosshairs (see 4mins 10 secs). Can visual news media be informative/educational AND entertaining/humorous? Leave your comments/link suggestions below.
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Here’s the opening to my latest 3-page piece on the pro-Israel lobby in Washington – all of it should be up at Religion Dispatches in the next few days.
Sources: Panel 2: Attendance info from AIPAC’s website here, Clinton’s quote from the State Dept. website.
News, as ever, is below.
Recientemente he visto más visitas desde algunos países hispanohablantes, en lo que imagino tiene que ver con mi cómic sobre el golpe de estado hondureño. Si este es el caso, quiere ir aquí
para la versión española. Y no se olvida ir a mi pagina de facebook, en donde puedes registrar como seguidor de Archcomix para poder ponerse al día con todo mis cómics nuevos.
For the rest of you, see above for the latest hardhats panels. Sneak preview of the now almost finished AIPAC comic coming up tomorrow.
For more information about this story, or to read from the beginning, visit the Hardhats page. New visitors to the site, become an Archcomix fan here, or order your hard copy of the Honduran coup comic using the button the sidebar. News below.
Centre-spread in last week's Arbejderen from Denmark
Almost all of the Honduran comic orders have now been shipped, so if you haven’t received your copy by the end of the month then get in touch. Unless of course you live in the UK/Europe, in which case you’ll just have to wait until that unpronounceable volcano in Iceland stops erupting. Also, please let me know what you think – I’d love to hear any comments you have. I’m currently working on an iphone app for my comics, and am mulling options for an ipad app too. In the meantime, checkout the lower-tech, hard copy of the Danish paper that ran the last part of the comic last week.
Click here to read a new page from Yiddishland over at the Social Histories page.
As mentioned below in today’s news, now that the Honduran comic project is completed, I’m focusing on my upcoming graphic novel, Hardhats. If you’re a new archcomix visitor, then head to the Hardhats page to start at the beginning of the story.
At last, the comics are now back from the printers and I’m glad to say they look great. They are currently being stuffed into envelopes and will be with those of you who ordered them next week. If you haven’t ordered one, then click on the button on the right-hand sidebar and do so immediately.
Now that the Honduran comic is at last completed, I’m re-focusing on my graphic novel, Hardhats, about the 1970 Hardhat riots and the parallels between the anti-war movements then and now. Click on the ‘Hardhats‘ tab at the top of the page for more info and to read an extract, which I’ll be adding more panels to over the next few months. You’ll also be able to check out all the research that’s going into the book and offer your comments and suggestions on what should or shouldn’t go in.
Big news this week in journalistic circles was the announcement that the Pulitzer prize for editorial cartooning has gone to an animator, the first time in history that the prize has gone to someone whose work only appears online. The judges went on to say “[Fiore’s] biting wit, extensive research and ability to distill complex issues set a high standard for an emerging form of commentary. Let’s hope this leaves the door open for other like-minded visual distillers of complex issues – certainly comics journalist Joe Sacco winning the Ridenhour Prize for investigative reporting is a similar step in the right direction.
At last, a sign that innovation and creative use of multimedia in visual journalism is being rewarded -not to mention, taken seriously- by the industry. The winner, Mark Fiore, has loads of free animations available to view over at his website, so check them out. Question is, how different are Mark’s animations to single-panel/editorial gag cartoons? Is their purpose to inform or entertain? Certainly they’ve managed to stir up their fair share of controversy. With the advent of the ipad, you’d think this sort of content would be embraced with open arms by the tech companies, but news came this week that Apple have blocked Mark’s ipad app on the grounds that:
“Applications may be rejected if they contain content or materials of any kind (text, graphics, images, photographs, sounds, etc.) that in Apple’s reasonable judgement may be found objectionable, for example, materials that may be considered obscene, pornographic, or defamatory.”
More on this story at the Columbia Journalism review. UPDATE: Looks like it won’t be long before Apple let Fiore’s app in after all, even though it took Steve Jobs himself to intervene.
