comic strip about politics
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A political cartoon, a form of editorial cartoon, is a cartoon graphic with caricatures of public figures, expressing the artist's opinion. An artist who writes and draws such images is known as an editorial cartoonist. They typically combine artistic skill, hyperbole and satire in order to either question authority or draw attention to corruption, political violence and other social ills.[1][2]
Developed in England in the latter part of the 18th century, the political cartoon was pioneered by James Gillray,[3] although his and others in the flourishing English industry were sold as individual prints in print shops. Founded in 1841, the British periodical Punch appropriated the term cartoon to refer to its political cartoons, which led to the term's widespread use.[4]
The pictorial satire has been credited as the precursor to the political cartoons in England: John J. Richetti, in The Cambridge history of English literature, 1660–1780, states that "English graphic satire really begins with Hogarth's Emblematical Print on the South Sea Scheme".[7][8] William Hogarth's pictures combined social criticism with sequential artistic scenes. A frequent target of his satire was the corruption of early 18th century British politics. An early satirical work was an Emblematical Print on the South Sea Scheme (c.1721), about the disastrous stock market crash of 1720 known as the South Sea Bubble, in which many English people lost a great deal of money.[9]
His art often had a strong moralizing element to it, such as in his masterpiece of 1732–33, A Rake's Progress, engraved in 1734. It consisted of eight pictures that depicted the reckless life of Tom Rakewell, the son of a rich merchant, who spends all of his money on luxurious living, services from sex workers, and gambling—the character's life ultimately ends in Bethlem Royal Hospital.[10]
However, his work was only tangentially politicized and was primarily regarded on its artistic merits. George Townshend, 1st Marquess Townshend produced some of the first overtly political cartoons and caricatures in the 1750s.[8][11]
My high school history teacher loved to create packets of political cartoons and have us parse them. If I were currently a cool history teacher, I might call them the memes of the 19th century, and gladly accept any paper balls tossed at my head for the corniness of that comparison. On the other hand, narrative history written in comics and graphic journalism have existed for a long time, and don’t have such an easily parseable meaning. Comics about politics are less about making a quick observation related to the current political fracas and more about taking the time and space to reckon with the successes and failures of any political system.
Comics and graphic histories are a great way to engage with history in a dynamic fashion that does not dismiss the subjectivity of the storyteller. What the artist chooses to include and how they choose to draw it is just as important as the content. These choices are political in how they display politics. Even superhero writers and artists consider themselves political. Comics started with a political history and now discuss political histories as often and as rigorously as any other news publication or nonfiction press. Outside of the regular recommendations likeMarch,Maus, andPersepolis, there are a ton of politically-focused comics to read.
It’s a political project to reconstitute forgotten histories. Joel Christian Gill takes us through nine under-recognized heroes of Black history, from badass lawman Bass Reeves to the magician Richard Potter. It’s a great reference for the richness of Black history, correcting the historical record and making you aware of the notable figures in history that stood up to the unfair laws of the time. Despite the restrictions of the time, there were always exceptional people, like the first Black chess expert Theophilus Thompson. The rich history continues in Volume II.
Before this autobiography, the author published a short but intense account of the Hiroshima bomb dropping when he was 6 years old (I Saw It). His graphic novel Barefoot Gen was a fictionalized version of the experience, and this autobiography gives all the history that led up to the famed manga. Nakazawa takes us through the crushing, terrifying aftermath of the atomic bomb and how he and his neighbors dealt with such uncertain times. Even though his trademark colorful and bombastic style, Nakazawa communicates strong critiques of the U.S. and Japanese governments that propagated such a terrible war. This is a necessary read for anyone looking to have a deeper understanding of the Hiroshima bombing.
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