There’s a war on.
There’s an issue with the war.
There are a few questions that you should ask yourself.
How is the war being framed?
How is it portrayed?
How does it make sense?
How do we tell if this is about the war?
In the days leading up to the Second World War, cartoonists were at the vanguard of this new medium, drawing images and concepts from a range of political, social, and economic issues.
The war was a prime example of how cartoonists could take on a complex issue, but how do they interpret it in the context of the war and its aftermath?
For a cartoonist like James Cameron, a former war correspondent for the BBC, the answer is straightforward: “It’s a conflict, not a cartoon”.
For his recent series, War of the Worlds, Cameron drew on a range and shades of the world’s war, from the brutal and bloody First World War to the peaceful and orderly Second World Wars.
In doing so, he explored the complex questions that were at stake in a world that was becoming more and more interconnected and fractured.
“We have a whole bunch of different worlds, but in this one, the war is happening,” he said in a BBC interview.
“It’s very clear in the war that we’re not fighting over one thing.
It’s a battle, but it’s also about what kind of society we’re going to live in.”
Cameron and his colleagues at British Cartoonist’s Association are part of the global Cartoon Artists Collective, which is a collaboration between the British Cartoonists Union (BCCU) and the American Federation of Cartoonists (AFCC).
It represents more than 5,000 cartoonists, animators, and illustrators from around the world.
It is a key body of influence for the international cartoon industry, representing more than 500,000 members.
Cameron said he hoped his series would contribute to “creating an open discussion of the meaning of war and the world at large” by drawing on a wide range of topics.
He also hopes it will “help people to see the world through a wider perspective”.
“War of the World”, in its first issue, focuses on the conflict in Syria.
The series is the brainchild of the BBC’s cartoonist in residence at the time, David Gwynne, and is based on a novel by former BBC reporter Andrew Morton, based on the true events of the First World Revolution.
The series is set in the year 2020, a time when war is still raging in Syria and the United States is embroiled in its own wars.
This is a conflict that involves a wide variety of actors, with the US and Russia fighting on opposite sides of the conflict, and the two nations are still fighting over the fate of Aleppo, the city which was once the centre of the revolutionary uprising against Syrian President Bashar al-Assad.
“War is not just about who is going to win,” Cameron said.
“It is also about who will lose.”
He continued: “If there is a war, you are going to see war.
You are going a war.
And there are a lot of questions to be asked.
How does this conflict relate to the war in Syria?
How are we seeing the war unfold, and how is it going to affect people in the Middle East and elsewhere?”
In his cartoon, War’s War, Cameron draws on a number of different sources to create a world in which a war has taken place.
“Syria’s war has become so intense and bloody, but also so different from the conflict of the rest of the region,” he says.
“You see, for example, the different types of weapons and the different kinds of tactics being used.
The rebels use tanks, the regime uses artillery, the civilians use rockets, and so on.
And so, for the most part, the people involved in the conflict are very different.”
The series also includes images from other conflicts in history.
One of the characters in War of World is a former US Marine, who, as a young Marine, was in a unit known as the Green Berets.
His platoon was attacked by the Iraqi forces and killed, leading him to join the Syrian opposition.
“You could see it as a kind of parallel universe, and there was a very clear distinction between the American soldiers in the front line and the Iraqi fighters, the American marines, the British marines, and Iraqi fighters,” Cameron says.
In a previous interview, Cameron said that when he started working on the series, he had the feeling that he had to tell the stories of people who had lost loved ones to the conflict.
“When you start doing that sort of work, you realise you can’t just put all these disparate people together,” he told Al Jazeera.
“So, you start telling the stories in the same way.
That’s when I started to think that there was an issue there.
The people I was working with were so different