Washington Post is Thrilled that Comics in 2020 Were So Political

The Washington Post wrote about what this year had to offer, and they seem quite interested in drawing an analogy of some sort between certain items with political metaphors and real life incidents involving the extremists like BLM and Antifa:

 

Amid the year’s reckoning over race in America, graphic novels continued to give voice to once-underrepresented stories, and creators of color drew critical acclaim.

Shortly before George Floyd’s death sparked international protests, Gene Luen Yang and artist Gurihiru released the graphic novel “Superman Smashes the Klan.” Inspired by a ‘40s radio serial, the masterful comic centers on two Chinese American teenagers who must help the Man of Steel battle the KKK’s racial violence shortly after World War II.

Other heralded culturally diverse stories included “Almost American Girl,” Robin Ha’s illustrated memoir about suddenly relocating from South Korea to Alabama as a teenager; “When Stars Are Scattered,” in which Victoria Jamieson helps tell Omar Mohamed’s true story of growing up in a Somali refugee camp; and “Long Way Down,” as Jason Reynolds’s free-verse story got a graphic-novel adaptation with artist Danica Novgorodoff. Plus, “Class Act,” Jerry Craft’s latest book about middle-school life, arrived months after his “New Kid” won the Newbery Medal.

 

If they’re trying to compare a past history with modern, they screwed up royally. They whitewashed the background of a man who turned out to be a criminal, declare this a year for reckoning over racial issues, yet there’s no reckoning over violent BLM and Antifa riots and arson? And would that refugee camp happen to be for Islamofascists like the ones who’re tearing up Europe?

 

Pretty fishy, elusive stuff the WaPo is touting. They’re also celebrating politics put to the forefront:

 

Comics collections that lampooned President Trump were plentiful, including Garry Trudeau’s “Doonesbury” book “Lewser!,” Tom Tomorrow’s “This Modern World” release “Life in the Stupidverse” and Ruben Bolling’s “Tom the Dancing Bug” compendium “Into the Trumpverse.”

Yet broader and more historical takes on politics were also abundant, including R. Sikoryak’s “Constitution Illustrated”; “Drawing the Vote,” a guide to voting rights from Tommy Jenkins and Kati Lacker; and from World Citizen Comics the timely “Fault Lines in the Constitution: The Graphic Novel,” which smartly spotlights the living document’s relevance to presidential impeachment, a peaceful transition of White House power and other modern concerns.

The most powerful of them all was “Kent State: Four Dead in Ohio,” a deep journalistic dive into the still-resonant ‘70s tragedy by Ohio native Derf Backderf (“My Friend Dahmer”).

 

I’ve mentioned the latter example previously, and this obfuscation of facts is just as reprehensible as the last. And they sure do seem to enjoy when an anti-Trump cartoon comes along.

 

There’s also their belief LGBT ideology is such a big deal:

 

Trung Le Nguyen delivered a sparkling debut with his graphic novel “The Magic Fish,” about the child of Vietnamese immigrants who teaches through fairy tales — yet wrestles with how to come out to his family.

Also noteworthy were “You Brought Me the Ocean,” by Alex Sanchez and Julie Maroh, “The Times I Knew I Was Gay,” by Eleanor Crewes, Sophie Yanow’s hitchhiking-toward-discovery tale “The Contradictions,” and Noelle Stevenson’s memoir, “The Fire Never Goes Out.”

 

And of course, one has to wonder what’s so special about these that isn’t so special about a story that could focus on the Armenian Genocide during WW1, which Turkey’s never apologized for?

 

There’s even this comment about youth being “served”:

 

As young readers attended school from home, they could take breaks with deft new illustrated literature, much of it almost nostalgically set in schools. The year’s best YA books included Terri Libenson’s “Becoming Brianna,” Lisa Brown’s “The Phantom Twin” and Maria Scrivan’s “Nat Enough.”

 

I wouldn’t be surprised if some of these examples were built on LGBT propaganda to boot, and the young adult market’s become pretty damaged with ideology regardless. DC’s made Aquaman’s world into one of the victims in this whole genre.

 

 

And in the end, what’s very sad is how the MSM keeps reaching for the same obvious, politically correct choices. This is why the smart person shouldn’t pay good money on a paper as awful as the WaPo.

 

 

Originally published here.

Avi Green

Avi Green was born in Pennsylvania in 1974, and moved to Israel in 1983. He enjoyed reading comics when he was young, the first being Fantastic Four. He maintains a strong belief in the public's right to knowledge and accuracy of facts. He considers himself a conservative-style version of Clark Kent. Follow him on his blog at Four Color Media Monitor or on Twitter at @avigreen1

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