The author, a Black lesbian woman, initially approaches the graphic anthology Chapo Trap House: Year One, created by Chris Wade and Joel Sinensky with art by David Cousens, with skepticism. She acknowledges that the 'dirtbag left' group is often insensitive towards identities like hers, but she approaches it with an open mind and discovers solid work overall. Of the five stories, three have excellent premises, notably No Pasaran, a fictional historical account of American soldiers fighting fascism in Spain, featuring diverse characters and a vivid depiction of the horrors of war.
The creative process behind the panel: from script to final art 🎨
Creating this anthology required precise coordination between writers and artist. Wade and Sinensky built narratives that move between biting humor and historical drama, while Cousens applied a clear line style with expressionist touches for combat scenes. The color palette, predominantly sepia and gray in No Pasaran, reinforces the atmosphere of the Spanish Civil War. Each page was designed to balance text and panel, prioritizing readability without sacrificing the visual density that political comics demand.
When the 'dirtbag left' surprises you with historical diversity 🤯
The author admits she expected to find a crude pamphlet, but No Pasaran confronted her with queer characters and people of color fighting shoulder to shoulder against fascism. So much so that even a group of white provocateurs can teach a lesson in representation to more than a few. That said, the initial skepticism doesn't entirely disappear: you read and think, well, at least they didn't throw in a joke about inclusive bathrooms in the middle of a trench. The ironies of art.