Regional comics literature in India: An analysis of the comics Sudden Muanga, Manipur
Jasmine Vanlalhmangaihzuali; Hashik Nadukkandiyil
Department of Cultural Studies, Tezpur University, Assam, India
e-mail: hashikknk@gmail.com(corresponding author)
AGATHOS, Volume 15, Issue 2 (29): 321-330, DOI 10.5281/zenodo.13954208
© www.agathos-international-review.com CC BY NC 2024
Abstract: The article seeks to enhance our comprehension of comics by investigating them as products shaped by historical factors within the context of Mizoram’s regional comics. It delves into various aspects related to the socio-cultural circumstances under which these comics were created, shedding light on previously unnoticed or unexplored dimensions. Furthermore, through an analysis of the comic book Sudden Muanga, this article explores the portrayal of prominent political figures who have been caricatured within the realm of long-form political cartoons. This analysis aims to incorporate a more accurate depiction of historical reality into discussions about history. Ultimately, the article underscores the importance of studying the development of regional comics in India, an area that has received relatively little research attention compared to its more widely recognized counterpart, such as Amar Chitra Katha, while preserving the unique regional characteristics of these comics.
Keywords: Mizo, comics, region, history, culture
Introduction
Indian comics literature has maintained a deep and ever-expanding connection with its audience, even in this era of advanced technology and abundant entertainment options. The term ‘regional’ carries a multitude of meanings that demand detailed explanation, especially within the context of Mizo comic books. These indigenous branches of Indian comics, often categorized as uncharted territories, have remained largely unnoticed by academic peers and critics. For instance, Narayana Debnath’s creation, Bantul the Great, possessed extraordinary abilities like deflecting bullets, stopping trains, and even having a whale for breakfast. Meanwhile, V T Thomas, also known as Toms, a cartoonist from Kerala, introduced Boban and Molly, characters who embarked on childlike adventures while also offering contemporary social and political satire within their comics. Amar Chitra Katha, on the other hand, primarily focused on using comic books to disseminate education. Raj comics, on the contrary, delved into the superhero genre, heavily influenced by Western comics, and initially published their works in Hindi language, targeting the northern part of India. Although a significant portion of Raj comics is still published in Hindi, there are limited editions available in Bhojpuri, Nepali, Bengali, and English. In this manner, the popularity of comics in India has waned due to the widespread use of the global language, English.
In March 1977, a fresh comic book was introduced in Mizoram by the independent publishing house ELES Comics, titled Sudden Muanga. This comic was the creation of Lalsangzuala Varte, an artist who also worked as an associate professor in the Department of Mizo at Lamka College in Manipur, using the pen name Laisaizawk. Initially conceived to humorously depict his own childhood experiences with close friends, Sudden Muanga eventually evolved to chronicle the adventures of the tribal superstar known as ‘Sudden’. The comic series presented a sophisticated satire of Mizo society at the time, mocking politicians while employing clever wordplay.
Initially, Sudden Muanga delved into mundane themes, poking fun at people in the artist’s immediate circle. However, it quickly gained widespread popularity in Mizoram and Manipur, largely due to its use of the Mizo vernacular and its focus on regional-specific topics. Beginning as a cyclostyled production in 1977, the comic ran until 2003, totalling nearly 94 issues. Set in a pastoral tribal setting, the series featured an extensive cast of characters who exemplified the incorrigible aspects of human nature and the recurring cycle of social problems.Even after the artist’s passing in 2016, the character of Sudden Muanga continued to hold a special place in Mizo popular culture. His likeness remained beloved and enduring in the region, to the extent that a movie and a song were created in his honour posthumously. Despite the immense popularity of the comic series, it has largely been overlooked by the field of comic studies. However, Sudden Muanga has received brief mentions in newspaper articles, social media blog posts, and references in scholarly works. In the comics, the central character is Sudden Muanga, also known as Pu Muanga. He differs from the typical portrayal of comic book protagonists in that he lacks conventionally attractive physical features, being a tribal Christian Mizo male. Notably,his distinctive appearance includes a prominent bulbous nose, a jutting chin, and a somewhat cross-eyed gaze. This artistic choice aligns with Scott McCloud’s idea that simplifying facial details in drawings can make characters more cartoonish and, paradoxically, more universally relatable (McCloud 1994,31-37).
Unlike the common depiction of comic book heroes with attributes like masculinity, physical appeal, and superhuman abilities, Sudden Muanga breaks this style. The artist satirizes the character by emphasizing his deficiencies, highlighting that despite his talents, typical Mizo values are notably absent in him. Sudden Muanga is often seen wearing cowboy-style attire, a fashion trend influenced by the American West and popularized following the Allied forces’ impact during World War II. This style gained widespread attention in the 1940s’ but it wasn’t until the Mizo National Front (MNF) uprising in 1966 that it became associated with the romanticized image of the heroic guerrilla fighter. Joy L Pachuau underscores the significance of the cowboy or guerrilla fighter as a style icon during the Mizo revolt from 1966 to 1986 (Pachuau and Schendel 2015). This sartorial choice served as a potent symbol for young men in Mizoram during that tumultuous period, reflecting their aspirations and ideals.
Locating the regional in comics
In her book ‘Visuality and Identity in Post Millennial Indian Graphic Narratives’, E. Dawson Varughese (2019) highlights the importance of exploring the ‘inauspicious’ elements within graphic narratives in regional languages. She emphasizes the need for a ‘different way of seeing’ and a departure from the traditional themes of heroism and honor, as seen in series like Anant Pai’s Amar Chitra Katha (Varughese 2019, 111). Aruna Rao commends visual artists such as Aabid Surti, along with the creators of Indrajal comics, for their creation of Bahadur, an adventurous detective and one of India’s earliest indigenous comic characters. Bahadur was firmly rooted in contemporary Indian life (Rao 2001, 8). Surti’s ingenuity paved the way for other influential artists like Mario Miranda and Manjula Padmanabhan, whose relatable stories not only made comics engaging but also provided valuable social commentary on various societal issues. Consequently, comics and graphic narratives serve as powerful tools for expressing dissent and shedding light on the less savoury aspects of Indian history. Regional comics also serve the purpose of portraying the unique characteristics of India’s diverse cultures (Khanduri 2010,173).
The memory of the insurgency period in Mizoram, spanning from 1966 to 1986, has had a lasting impact on the society, even after the acclaimed peace accord of June 30, 1986. During the height of the insurgency, curfews were imposed, and censorship was rampant, discouraging any form of writing. It was after this turbulent period that comics were first published in the humble town of Churachandpur, Manipur, away from the violence in Mizoram. These comics provided an escape for the youth who had witnessed mass destruction, bombings, and human rights violations. The comics of the 1980s and 1990s can be characterized as indigenous or regional due to their focus on Mizo culture and society. They incorporated elements of Mizo vernacular creativity, gunfights, kung fu, and Western cowboy character tropes. The artists drew inspiration from various artistic and narrative traditions, transforming them into a medium that aimed to entertain and provoke thought, often focusing on the socio-cultural norms of society. This made comics an effective tool for educating the indigenous minority and reconnecting them with their cultural heritage.
Following the peace accord, Mizoram attained statehood in 1987. The MNF initially won the first state legislative assembly election but later lost its dominance to the Congress party in 1989. Since then, Mizoram transitioned from a union territory to a state, marking a significant shift from oral traditions to written and visual forms of expression. Artists have drawn on elements of comedy and satire, inspired by pulp fiction novels, to create a cultural artefact within popular culture. This transformation has been instrumental in indigenizing a Western-dominated art form, comics. The artist, while playing the roles of cultural critic and auteur, used this medium to humorously challenge the authority of certain church leaders and their adapted faith. Their consistent targets included lay evangelicals, church leaders, politicians, and cultural guardians of their time.
Prominence of implicit history
The interest in history and its portrayal within graphic narratives has its roots dating back to the 1980s when Art Spiegelman’s graphic narrative, Maus (1986) tackled the Holocaust. This approach is applicable to the context of Indian historical events, given the enduring importance of memories associated with the National Emergency and the Naxalite movement. These events have become central topics, employing an unconventional lens of ‘inauspiciousness’ as advocated by Varughese, thereby offering an alternative perspective to traditional historical accounts. While Amar Chitra Katha is often credited as the pioneer in historical graphic storytelling, having been first published in 1967 for a pan-Indian audience, the contributions of regional writers and illustrators have often been overlooked. Self-publishing has emerged as a viable means for them to express themselves. Consequently, regional language-based comics challenge the notion of a singular Indian historical narrative, embracing their indigenous aspects, including language. Hayden White, who introduced the term ‘historiophoty’, argued that visual images and their narratives hold as much historical truth as traditional historiography (White 1988,1193). Nayar contends that the visual dimension of graphic novels, or graphic narratives in this case, not only “contributes significantly to our understanding of history but also raises questions about how history can be represented” (Nayar 2016,14). This help to understand how comics provide commentary on historical events, entities, and situations through both text and images, thus shedding light on underreported issues. Examining comics from a historical perspective aims to uncover entities referenced in various contexts and their societal relevance. In this manner, the author highlights the power dynamics in Mizoram from the 1980s to the 2000s, offering a comprehensive historical viewpoint.It draws references from graphic narratives or comics to create a new historical narrative while challenging and subverting the official narrative, seeking validation as useful corroboration in the discourse of history (Ashkenazi and Dittmar 2019, 4).
Decoding embedded narratives in the visual dimension of a text, in addition to textual components like speech and thought bubbles, is a compelling aspect. While some aspects of the historical narrative may be overt, such as journalism, reportage, or biography comics, others may have implicit traces that require careful interpretation. Examining comics in the Mizo context reveals images and caricatures addressing specific issues, which must be contextualized to be understood within the comic’s narrative. The interpretation of these images depends on the reader’s cultural connection to the elements used in a particular context.
In the case of Sudden Muanga, a fictional setting, there is a clear contextual record. The western cowboy backdrop is evident from the outset, influenced by western pulp fiction novels like Oliver Strange’s ‘Sudden Novels’. The title as well as the different character’s names such as Sudden Muanga, Clement Hrangtudai, Abraham Chalchhuna etc.,bear this western resemblance despite the backdrop of a rustic ethnic Mizo surrounding.However, within the region’s historical and cultural context of 1977, it represents a clear departure from Indiannotions of style and etiquette. The thematisation of the American western cowboy motif originates in 1940s with the region’s people recruited by the Allied forces during the World War II (Zama and Vanchiau 2016).
Despite the resistance against British imperialism, cowboy paraphernalia, such as wide-brimmed hats and guitars, were embraced in Mizoram, shaping a modern identity that challenged the mainstream perception of the region as ‘tribal’. This stylistic shift prompted cultural resistance against the hegemonic Indian state.Following the 1966 revolt, the cowboy motif took on the symbolism of a romantic heroic guerrilla fighter, serving as a powerful style icon for Mizo youth during the insurgency period (1966-1986). The comics’ plot draws inspiration from western pulp fiction novels, depicting antagonism between indigenous Mizos as the cowboy settlers and the Nationalist mainstream, represented as the ‘Native Indians’ or Shabito. This portrayal reflects the indelible impact of the 1966 revolt on the Mizo psyche, gradually reducing insularity and alienation toward the ‘other’ (Zama and Vanchiau 2016, 40).
In volumes like ‘Invincible’ and ‘Holy War’, the comics reference the post-accord period in Mizoram and the events leading up to its signing. Characters like Shabito I, resembling the former Prime Minister Indira Gandhi, symbolise the Indian National Congress’ dominance. Although gender-related traits are not emphasized, they share similarities, with Shabito I wear a headdress with feathers and fringes, symbolizing the Native Indian aura. Subsequently, as Shabito II emulated Rajiv Gandhi, the comics also drew parallels between Shabito III and P.V. Narasimha Rao; two contemporary and key Indian political figures. Therefore, the depictions of historical personages provided insights into Mizoram’s political history, and restored memories of the peace settlement.
The portrayal of political figures underscored by their prominent features has resulted in heterogenous depictions, where targets of ridicule are juxtaposed against oblique representations. Thus, the panel in the comics, which depicted Shabito I’s order to ‘Kill them all’ was clearly an unfavourable depiction, supported by his loyalty to the insurgency and his intolerance towards the famed Gospeliana. The latter was a preacher turned politician who evoked a strong resemblance to Laldenga, the founder of the Mizo National Front.
The comics’ reconstruction of the narrative sheds light on the challenges met after the accord and addresses politically charged stories that print journalism often avoided. This parallel narrative in the comics also explores efforts for repatriation, with Shabito I and Gospeliana, as well as Kapriduma, vacating his sheriff seat to Gospeliana, revealing political motivations. Lalsangzuala’s long-form political cartoons capture the politics of the time, employing what Oyvind Vagnes describes as “graphically asserting the truthfulness through the admission of artifice” (Vagnes 2015, 159).
In order to maintain a focus on the subject matter, the connection between the graphic narrative and the supporting evidence taps into the potential of Mizo regional comics as both an analytical and expressive tool. This approach is exemplified in Sudden Muanga, where the political power structures in Mizoram, most notably in the timeline between 1980 to 2000, provided a detailed running commentary on the shifting governance, and the different political leaders involved.Kapriduma is a recurring character throughout the comic series and is a target of satire, given his distinctive curly hair and moustache, traits reminiscent of Lalthanhawla. Like Kapriduma’s efforts in the comics, Lalthanhawla in real life also played a role in addressing political instability in the state and actively intervened in peace accord settlements. A particular instance in the comics showcased the altruistic surrender of his Sheriff’s post to make way for Gospelliana. This act could have alluded to Lathanhawla stepping down from his office to make way for Laldenga as the new Chief Minister of Mizoram.
Furthermore, the comics depict Lalthanhawla’s benevolence through his welcoming behavior when officials from the Apache camp visit Rualrem City, in so much that he dismisses their violence towards the youth symbolised by the death of an individual called Ramchhana (whose name translates as Saviour of the land). The comics also depicted his mournful state upon learning of Shabito’s assassination by his two bodyguards, an event parallel to the late Prime Minister Indira Gandhi’s assassination. In the volume Temptation’ we are introduced to a hand gesture on the cover of Sudden Muanga’s ‘Rularem Weakly’ edition greatly admired by Kapa, who believes it to be the late Shabito’s and this highlights Kapa’s compassion for the Apaches over his own ethnic brethren.
The comics also highlight Kapriduma’s appointment to the Finance committee, a position that symbolizes the Ninth Finance Commission of India. The comics also highlighted Kapriduma’s appointment to the Finance committee, which recalled the nomination of two politicians namely, Lalthahawla and NKP Salve to the Ninth Finance Commission of India. These appointments had not only attracted media attention, but aroused suspicions regarding the political aspirations of Lalthahawla and Congress (I). In a similar vein, the comics offer commentary on political figures like Brigadier Thenphunga Sailo, Laldenga, and Lalthanhawla as they grapple with various governance issues, including the influence of the Synod Church in policymaking. The comics provide a subtext of the events during the rise of the Mizo National Front (MNF). For example, they depict Lalkhirvela, an ally of Gospeliana, representing MNF dissidents responsible for the party’s split and withdrawal from politics. Lalkhirvela forms an alliance with Kapriduma, betraying the former Sheriff and ultimately leading to Kapriduma’s victory. The text suggests that these leaders faced accusations of political scandals and administrative inefficiencies, leading to their downfall. Additionally, the comics creatively criticize themes such as censorship, which was prevalent during the insurgency, and was used to suppress dissent. Kapriduma is portrayed as a political leader who threatens negative news coverage against the government while engaging in character assassination of his political opponents. Overall, the comics provide a rich case study for exploring how history can be conceptualized in comic studies, offering a significant amount of social realism and political commentary.
Conclusion
The fusion of comics with historical narratives opens a promising avenue for exploring undocumented or neglected aspects of history. This intersection sparks a dialogue between storytelling and established historiography (Ashkenazi and Dittmar 2019, 49). It is commonly assumed that everything holds historical significance, and by examining the arguments presented in regional comics from Mizoram, an implicit history emerges. This narrative not only challenges the prevailing mainstream nationalist discourse but also enriches historiography with a perspective that written texts often fail to convey. The context of insurgency and political history plays a pivotal role in shaping the content of these comics. Sudden Muanga, as the leading feature, continues to shed light on the real-life excesses of individuals, political leaders, and church figures.
Given India’s multicultural and multilingual diversity, regional comics, particularly those from the Northeast India like Mizo comics, have established their own historical significance within the national context. Joy L. Pachuau underscores how the dominant nationalist discourse tends to interpret this region from its own perspective, compelling the local population to construct their own culture and assert their identity through historical discourse allowing for a self-identification in their own terms (Pachuau 2014, 14). This emphasizes the necessity of spotlighting and revitalizing indigenous comic books tailored for minority audiences. These comics elucidate historical events and situations often overlooked in traditional history curricula. Therefore, the article advocates for highlighting regional aspects, such as the region’s diversity and aspirations, to prevent marginalization by dominant overarching frameworks like Amar Chitra Katha or Diamond and Indrajal comics, which tend to depict a single narrative history of Indian comics. Despite facing declining readership since 2003, comics like ‘SuddenMuanga have not deterred new comic artists like L. Chhangte and Lalhmachhuana Zofa, along with publishing house Scream Magazine in Aizawl, Manipur, from creating exceptional content centered around Mizo folklore. Similarly, Th. Kirankumar’s comic book ‘Folktales of Maram, Mao, and Poumai’ recently explores cultural ethos in comic book format. While commercial success is a natural aspiration, it can only be achieved by encouraging comic book artists to delve into the true essence of their culture beyond the dominant discourse assigned to them. This approach provides an opportunity to present and study India’s rich cultural diversity.
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