The Baghdad Pride explores the costs of war through an animal analogy

Prior to co-creating the Saga, writer Brian K. Vaughan followed in the footsteps of Maus and portrayed the aftermath of the war in the Baghdad Pride comic.

The recent debate over the Tennessee school board ban illustrates how timeless Maus van. Art Spiegelman’s cartoonist Pulitzer Prize-winning graphic novel has become a pillar of the graphic canon through a combination of craftsmanship that is combined with other essential works such as Guard and how it explores the sadly timeless topic.

Spiegleman makes the horrors of war accessible through a classic comic tropics; anthropomorphic animals for humans. This is the best example of telling a sophisticated story with a storytelling technique related to the “funny animal comic” sub-genre, but it’s not the only one. Another example comes from a surprising co-creator who is behind the genre-owned comics, e.g. Y: The last man and recently returned SagaBrian K. Vaughan.

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The pride of Baghdad a 2006 comic written by Vaghaun, drawn by Nico Henrichon, written in Todd Klein lettering, and published by Imprint Vertigo for adult readers of DC Comics. Vaughan uses a real story from the Iraq war as inspiration and comments on the pride of the lions that escaped the Baghdad Zoo during the U.S. coalition’s 2003 invasion of Iraq with the war itself.

In pride, each lion represents a different perspective on the war. The central philosophical conflict is between the lions of Safa and Noor. Safa is an older lion who is used to captivity and understands the dangers of the outside world all too well. Noor is a younger lion with a cub, Ali, who is longing for freedom. Unfortunately, his imprisoned companions do not share his goals. He is constantly frustrated with his inability to overthrow their human oppressors.

The invasion takes Safa and Noor’s argument out of theory. The stray bombs immediately release the captive animals after their keepers have left them. While Safa at first claims to stay in the zoo, she eventually joins the rest of the outside world in pride. Noor, for his part, is not as bold about his newly acquired freedom as when he tried to encourage it. Safa and Noor will serve as a standstill for the parties in the ongoing debate over the Iraq war.

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Safa holds the perspective that no matter how terrible Iraqi dictator Saddam Hussein may have been, staying in power was better than the chaos of the United States and its allies forcing regime change. Noor sees the war as a form of liberation for oppressed animals, recalling the argument that proponents of the Iraq war tend to make and claiming that Iraq has weapons of mass destruction.

Lions do not meet a living person for the rest of their lives. They also meet other animals, from a turtle who has gone through several wars in Iraq to an abused lion named Rashid, who is believed to be one of the favorites of Hussien’s son, Uday. The book’s great action series involves a battle with a bear that caused Rashid to starve as he stole his food. Each offers a perspective that is missing from the previously held captive lions.

Thanks to his alpha male, Zill, pride fights and defeats the bear. Their victory is short-lived. After Zill was finally able to experience the sunset, he moved for so long, American troops shoot down the lions. The story ends with a caption, acknowledging that the lions who inspired the tale also suffered the same fate. During the aerial reconnaissance in Baghdad, it ends with the words, “There were other casualties.”

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This concluding series beautifully illustrates how Baghdad’s pride gets its message across. The storytelling perception of anthropomorphized lions allowed Vaughan, Henrichon, and Klein to tell a fantastic story about the reality of the war without diminishing its impact. It’s a step straight Maus‘game book. The deaths of the lions end up in a visceral blow, making it easier to understand what the invasion did to Iraqi civilians, who are unfortunate enough to catch them.

Behind the creators Pride could have used human beings. Even so, they wouldn’t have reached the kind of audience that would feel indifferent to biographical comics, such as the banned book. Persepolis which tell the story of the war from a realistic, personal perspective. Although not poetically delicate, Pride understands the point without being didactic. There’s a good chance you’ll illustrate the aftermath of the war for an audience that may shy away from “overly political” stories but invest in a story that may be premised on a Disney animated film with some disinfection.

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