An explanation of sorts
I drew the first page of Hearts & Minds in 1986 but it wasn't until 1990 that I got around to doing the other five pages. It started off as a half-formed idea and I wasn't sure where I wanted to go with it.
Consequently, I launched into the first page in the hope that something would occur to me as I went but, alas, nothing did. So that first page languished in my portfolio, along with many similar pages, for the intervening years.
Finally, four years later, the light bulb went off in my head and I knew what I was going to do with the strip. It's not a particularly deep story. I think it makes a fairly uncomplicated point in a short space and I'm happy with the way it turned out. Unfortunately, most other people didn't 'get it' and I was forever explaining it, which for such an inconsequential thing, kind of ruins it; just like having to explain a joke. So, to avoid any further embarrassment, I'm going to explain it again, cunningly disguised as some kind of 'designer's notes'.
I drew the first page of Hearts & Minds in 1986 but it wasn't until 1990 that I got around to doing the other five pages. It started off as a half-formed idea and I wasn't sure where I wanted to go with it.
Consequently, I launched into the first page in the hope that something would occur to me as I went but, alas, nothing did. So that first page languished in my portfolio, along with many similar pages, for the intervening years.
Finally, four years later, the light bulb went off in my head and I knew what I was going to do with the strip. It's not a particularly deep story. I think it makes a fairly uncomplicated point in a short space and I'm happy with the way it turned out. Unfortunately, most other people didn't 'get it' and I was forever explaining it, which for such an inconsequential thing, kind of ruins it; just like having to explain a joke. So, to avoid any further embarrassment, I'm going to explain it again, cunningly disguised as some kind of 'designer's notes'.
Unfortunately, the passage of time and the fact that I had to reduce the A3 originals down to A4 on a photocopier before I could scan them means that the colours have suffered somewhat. Hopefully, this won't completely ruin any enjoyment you might derive from the strip.
There are three types of people in Hearts & Minds. The story is an (admittedly shallow) analogy of the Vietnam war and each represents a different faction in the conflict. To highlight their differences each faction has a different drawing style linked to their viewpoint.
The Soldiers see the world in black and white. They have no way of determining who is a harmless villager and who is a dangerous 'Red'. They inadvertently stand out like sore thumbs in the desert environment with their bright blue uniforms. Because everyone is a potential threat to them they have no empathy with the natives and consequently act in a callous and brutal manner towards them.
I gave them grey skin and empty eyes to further emphasise the gap between them and the natives.
There are three types of people in Hearts & Minds. The story is an (admittedly shallow) analogy of the Vietnam war and each represents a different faction in the conflict. To highlight their differences each faction has a different drawing style linked to their viewpoint.
The Soldiers see the world in black and white. They have no way of determining who is a harmless villager and who is a dangerous 'Red'. They inadvertently stand out like sore thumbs in the desert environment with their bright blue uniforms. Because everyone is a potential threat to them they have no empathy with the natives and consequently act in a callous and brutal manner towards them.
I gave them grey skin and empty eyes to further emphasise the gap between them and the natives.
The Villagers understand their environment fully and see everything in full colour. They cannot understand why the Soldiers keep bothering them because they know that the 'Reds' actually have red skin, they can spot them a mile away. They don't realise that the Soldiers see the world differently and so they are doomed to be forever picked on by both sides.
Their lot in life is not a happy one but they will endure as they always have.
The Reds are an altogether more militant strain of native. They have bright red skin to emphasise their warlike nature and see the world in a 'woodcut' view. Most of them only speak in slogans.
I chose the woodcut style to mirror the propaganda posters published by the Viet Cong. These posters were produced with woodcuts for ease of reproduction and the low cost involved. They are very striking pieces of work with strong blacks and vibrant blocky colours, each is accompanied by a suitable slogan.
Well, that's it, now you can see it for yourself here.
Their lot in life is not a happy one but they will endure as they always have.
The Reds are an altogether more militant strain of native. They have bright red skin to emphasise their warlike nature and see the world in a 'woodcut' view. Most of them only speak in slogans.
I chose the woodcut style to mirror the propaganda posters published by the Viet Cong. These posters were produced with woodcuts for ease of reproduction and the low cost involved. They are very striking pieces of work with strong blacks and vibrant blocky colours, each is accompanied by a suitable slogan.
Well, that's it, now you can see it for yourself here.
|
|
