The Power of Visual Storytelling in Journalism
Jamie Self, managing editor at inewsource, a nonprofit newsroom based in San Diego, had seen countless stories about fentanyl. This deadly synthetic opioid has been the subject of books, research papers, and articles, many of which were published by inewsource itself. However, when a new journalist proposed a story on fentanyl in the form of a comic, it caught Self’s attention. What made this idea stand out was its unique approach—using visual storytelling to convey the impact of the opioid crisis.
The result was “Fentanyl: A Decade of Death,” a comic created by acclaimed cartoonist Steve Breen. This project not only gained recognition as a Pulitzer Prize finalist but also exemplifies a growing trend in journalism: using art to tell true stories. This trend is especially prominent at events like Comic-Con, where graphic novels and visual narratives are gaining more attention.
Comic-Con, known for its celebration of comics and pop culture, is now showcasing a range of graphic non-fiction works. These include graphic novels that explore historical events such as the Vietnam War and women’s suffrage. One artist even used woodcuts to illustrate Puerto Rican history, while others have brought their unique perspectives to the forefront. Notable guests at the event include Jen Sorensen, who has contributed to NPR and Politico, and Joe Sacco, a renowned journalist and cartoonist whose work has taken him to conflict zones like Gaza and Bosnia.
“There’s a resurgence happening in graphic non-fiction,” said John Hendrix, creator of the Eisner-nominated book “The Mythmakers: The Remarkable Fellowship of C.S. Lewis & J.R.R. Tolkien.” The Eisner Awards, considered the top honors in the comics industry, have a significant number of finalists for true stories this year. Many of the artists and writers involved in these projects argue that hand-made art stands out in an era dominated by AI-generated images and constant headlines.
For some, the appeal of comics lies in their ability to simplify complex ideas. For example, reading a 1,104-page book like “Capital and Ideology” might seem daunting, but a graphic novel adaptation can condense the same material into 176 pages of visuals. “It just helps it stick,” said Caitlin Cass, author of “Suffrage Song: The Haunted History of Gender, Race, and Voting Rights in the U.S.” She also appreciates the personal quality of drawings, noting that the imperfections in the lines make the narrative feel more intimate.
Despite its benefits, creating a comics-based story is a time-consuming process. Some of the nominated books took years to complete. Maria Sweeney spent a decade working on “Brittle Joints,” a memoir about living with a rare condition that makes her bones fragile. Her artwork captures both the beauty and the challenges of her experience, highlighting how disability is often shaped by societal perceptions rather than the condition itself.
Another example is “The Puerto Rican War,” a graphic novel that explores a violent period in Puerto Rico’s independence movement. Artist John Vasquez Mejias created each page by staining wood with India ink, penciling in the images, and then carving them into the surface. “Even if I’m making a garbage can or a rat or a slice of pizza, I’m trying to make it a beautiful slice of pizza,” he said.
Comics also offer readers control over the pacing of the story. They can choose to focus on details or step back to see the broader picture, allowing for a unique blend of humor and horror, past and present. Carl Sciacchitano, the creator of “The Heart That Fed: A Father, a Son, and the Long Shadow of War,” found this feature particularly useful in illustrating how his father’s experiences during the Vietnam War continue to affect their lives today.
Artists and journalists alike have found that comics provide a powerful platform for storytelling. Even potential sources have embraced this format. Steve Breen, the artist behind the fentanyl comic, initially thought it would be difficult to find families willing to share their stories of addiction. However, once he started asking around, he discovered more stories than he could fit into a single piece of art.
This growing trend of using art to tell true stories shows that visual storytelling is not only effective but also deeply human. It allows for a more engaging and accessible way to explore complex issues, making it an essential tool in modern journalism.
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