Derek Chatwoods Portfolio auf Flickr hatte ich schonmal vor einer Weile, da ist mittlerweile einiges hinzugekommen, ich mag seine politischen Illus immer noch am liebsten und das beste sind immer noch die kurzen Shortstorys, die unter fast allen seinen Bildern stehen, manchmal böse bis zum Anschlag und die Storys haben mal mehr, mal weniger mit dem Artwork zu tun. Unter obigem „Inappropriate Jazz Hands“ steht zum Beispiel:
Editor: You can't use that one.
Artist: Which one? Why Not?
Editor: The "O.J. Simpson". Not standing behind Nicole, with the gloves. And the knife. It's too soon.
Artist: What? But it's funny! You laughed.
Editor: Yes, but that just means the bad karma will be even worse for you. All the collective guilt from the people who laughed, all aimed at you? Do you really want that? Don't you have something important happening this week? How much would it suck if there was an earthquake, or a toxic waste spill, right there where you..
Artist: Ok, ok fine, I get it, don't jinx it. Geez. It's not even as bad as the other one I cut.
Editor: Which was?
Artist: "Double Amputee Haitian Refugee."
Editor: What is wrong with you?
Hier gibt's ein paar Prints seiner Arbeiten, nach dem Klick noch ein Zombie-Outbrack gemasht mit amerikanischer Gesundheitspolitik und Pharmakonzernen und die grüne Revolution im Iran symbolisiert mit Schlümpfen und Cylonen. Großartige Arbeiten, sowohl konzeptionell als auch technisch.
The zombie plague was unexpected.
A cure was quickly found, but just as quickly discarded, over limited profit concerns. Attention shifted instead to a daily-dose vaccine, much less effective than a cure, but favored for the open-ended revenue streams. The vaccine went into production within weeks of the first infestation. Projections showed if deployed strategically across a global grid, a virus firewall could be erected, effectively isolating and starving the existing pockets of zombies and halting the spread. The drug companies, however, took a different approach. They made available only limited quantities of vaccine to artificially inflate demand, and then set a price that only the very wealthy could afford. It was a wildly successful product launch, with record profits.
But as a result, the zombies spread.
Unwilling to bend on price, the drug companies found themselves short staffed, as most of their own scientists and production workers couldn't afford the vaccine. The resulting shortfall in production had little effect on sales, surprisingly. As it turned out the drug makers failed to take into account the one simple truth about zombies.
There was no cure for being eaten.
Republican Foreign Policy Handbook
Chapter 6: Explaining Iran With Smurfs and Cylons
In figure one, we see a classic Battlestar Galactica cylon. It represents the classic leadership of Iran, combining the clerical leadership governed by Supreme Leader Ayatollah Ali Khamenei, and the political power base, led by President Mahmoud Ahmadinejad. It is an artificial construct built on a false premise of freedom and democracy, and as such is slow witted and near impossible to reason with.
The smurfs represent the Iranian people, shown here attacking the cylon. When the smurfs believe that they live in a representative democracy, and it is then shown to be false, they do not take it well. They will climb around and dance and make all sorts of noises. Unfortunately the cylons have been allowed to control them for so long, that they are much more powerful than the smurfs. While it is inspirational to see the smurfs organized, and with one voice denouncing the brutal dictatorship that they now realize they live under, it is also ultimately futile. The cylons are much more powerful, and have blasters and laser cannons.
Next in Chapter 7: Explaining Middle Eastern Social Structure With Thundercats
(via Mister Honk)