Long-Held Beliefs About Journalistic Objectivity Shattered by New Comics guide
PORTLAND, OR – For years, I clung to the journalistic ideal of objectivity, believing a neutral stance was paramount to truthful reporting. That conviction crumbled after diving into Making Nonfiction Comics, a new guide by Alison Mirk and Harris Burdick. The book didn’t just teach me how to create nonfiction comics; it fundamentally altered my understanding of what responsible journalism can be.
The rise of graphic novels and comics journalism has steadily challenged conventional reporting formats, yet the question of objectivity remained a sticking point. can a subjective medium truly convey unbiased truth? Mirk and Harris directly confront this, arguing that objectivity is a ”myth.” This isn’t a dismissal of journalistic integrity, but a radical reframing – an invitation to embrace transparency about one’s own background, values, and inherent biases as crucial components of honest storytelling. This shift is notably relevant now, as trust in traditional media erodes and audiences demand greater authenticity from their sources. Making Nonfiction Comics offers a pathway for journalists, and aspiring ones, to navigate this evolving landscape.
The book distinguishes itself from typical “how-to” guides. It doesn’t focus on technical drawing skills, but rather on the critical thinking required to select and present a compelling narrative. As Mirk writes, the focus isn’t on how to draw a dog, but which dog to choose and how to depict its actions. This emphasis on narrative choices extends to the ethical considerations of reporting, including trauma-informed practices and a robust discussion of journalistic ethics.
Beyond its theoretical framework, Making Nonfiction Comics is a practical resource. Skill-share sections cover interviewing techniques and introductory strategies, while interviews with established comics journalists like Joe Sacco and nicole J. Georges offer invaluable insights into their creative processes. Thes conversations aren’t just fan service; they function as “digestible lessons,” mirroring the organic learning that occurs within the comics community.
What struck me most was the authors’ palpable passion for the form and the work of others. This enthusiasm translates into a guide that feels less like a textbook and more like a mentorship. Making Nonfiction Comics isn’t just the best “how to” on the subject; it’s the only primer I’ve encountered that prioritizes ethical graphic reporting, and it’s irrevocably changed my approach to storytelling.
