They say that the past can come back to haunt you; in this case, it returns with a vengeance. In Karikatur, the pen is indeed mightier than the sword; not only with words but the images it can create too. Writer Ken Cohen tells a stirring tale of a cartoonist who comes face to face with the consequences of his work; creating anti-Semitic propaganda during World War II.
Despite its short length, Karikatur conveys a powerful message regarding the dangers of stereotypes and prejudice. The story unfolds in modern times as one of the cartoonist’s past caricatures comes to life and tracks him down. Cohen’s narrative is sombre and effective as a metaphor for the main character’s guilty conscience. I find that the choice to personify this guilt gives it a real gravity, especially due to its historical context. The caricature speaks on behalf of those who no longer can, and reminds the cartoonist that some actions are unforgiveable. This statement about guilt is moving and ever relevant. The cartoonist’s penance for his crime is bloody and symbolic; a final attempt to atone for the innocent lives lost.
The way that the appearance of the caricature shifts to that of an actual Jewish person is reminiscent of magical realism. It seems as if a spell breaks as a result of the final drawing. I feel like this ambiguous presence of the caricature adds a layer of depth to the story. Are they a ghost? A figment of the cartoonist’s imagination? Are they a real person underneath the false imagery?
I particularly like the way that Cohen ties the theme of propaganda from the past to the present. The way that the modern public treat the caricature is a clear result of the cartoonist’s work. His actions have very tangible consequences; his discrimination leads to distorted public cognition. Tragically, it also appears to affect the way that he views his own image.
It is hard to imagine a more thematically suitable pairing for the story than Graham Sisk‘s artwork. From the cover onwards, it grabs my attention. The cartoonist’s caricature looms behind him like a spectre, half-concealed in shadow. Sisk’s use of a red and black colour palette evokes not only the horror genre, but the horrors of the Holocaust which he depicts. Graves, barbed wire and Jewish people wearing Star of David badges form a poignant part of the cover. It is a bold image, and its repetition at the end of the story helps to reinforce its themes. Colour is also used cleverly in the opening pages of the comic. The story shifts from black and white in the past to black and red. This indicates the character’s guilt in the war.
Overall, Karikatur is a concise, memorable story exploring personal guilt and the impact of propaganda. While it would be interesting to see this theme expanded into a longer tale, Cohen and Sisk pull off an impressive feat in such a small number of pages. I would definitely be interested in reading more of their work.
Are you a fan of comics that really make you think? Check out Karikatur over at Indyplanet. Sound off in the comments or send us your thoughts on Facebook or Twitter!
