The comics created in the incarceration camps were circulated through the camp newspapers. These newspapers were subject to censorship and the artists were highly aware that their works would be under close scrutiny by the US government. These images needed to also speak to the real lived experiences of those incarcerated in the camps, recognizing how challenging their situations were, but also in a way that wasn’t too critical of their situation. The often show joy, disappointment, challenges, and other real life situations. How do these artists convey their situation without critiquing the US government? How to they create an authentic experience for their community under these circumstances?

Bennie Nobori 

While incarcerated at The Topaz War Relocation Center in Utah, Bennie Nobori drew a weekly comic strip called “Jankee Reporter” for the camp newspaper, The Topaz Times. In 1943, Norbori moved to the Heart Mountain Relocation Center in California and created a new comic strip "Zootsuo" for the pages of the Heart Mountain Sentinel. 

Jack Matsuoka 

Jack Matsuoka  was a Nisei (second generation) cartoonist who was incarcerated in Poston, Arizona, where he began drawing for the camp newspaper, The Poston Chronicle. In 1974, Matsuoka published the first edition of his book, Camp II, Block 211, based on the sketches he did in Poston. The book was republished in 2003, renamed Poston Camp II, Block 211, and included new illustrations and photos of camp.

Miné Okubo 

Okubo was incarcerated in Topaz, Utah, where she helped to found the Tanforan Art School and later the Topaz Art School which provided art lessons to all people in the camps. Okubo also worked as an illustrator for the Topaz Times camp newspaper and helped produce Trek, a literary magazine created at Topaz. While in camp, Okubo made over 2,000 drawings in multiple mediums, depicting her everyday experiences. In 1946, her book, Citizen 13660, was published - the first published account of the experience of an internee.

Chris Ishii 

Chris Ishii (1919-2001) was first incarcerated at the Santa Anita Assembly Center, where he taught art and began his comic “Lil’ Neebo” in the Santa Anita Pacemaker newspaper. He was later relocated to the Granada Relocation Center in Amache, Colorado, where he continued to draw for the Granada Pioneer. In 1942, Ishii was accepted into military service and "Lil' Neebo" was carried on by Tom Okamoto and Jack Ito until the end of 1944.

Eddie Sato 

Eddie Hirofumi Sato was a Japanese American artist first incarcerated to the Puyallup Assembly Center in Puyallup, Washington, called “Camp Harmony.” While at Camp Harmony, he created an illustrated newsletter of camp life.  Sato was then relocated to the Minidoka Relocation Center in Idaho. While at Minidoka, Sato drew comics and cartoons, including his most-well known comic, "Dokie," for the camp newspaper, The Minidoka Irrigator.

George Akimoto 

George Akimoto was incarcerated at the Stockton Assembly Center at the San Joaquin County Fairgrounds before being sent to the relocation camp at Rohwer, Arkansas. Akimoto is well known for the cartoon "Lil Dan'l" which was published in the the Rohwer Outpost newspaper. His character, "Lil Dan'l," became the mascot of the Rohwer camp and later anchored Akimoto's book, Lil Dan'l: One Year in a Relocation Center. 1943.

John Watanabe 

Little is known about comic artist John Watanabe. He was incarcerated at Heart Mountain Relocation Center and served on the staff of the Heart Mountain Sentinel, the weekly camp newspaper that ran from 1942-1945.  During his time, he created several illustrations depicting camp life.

Hank Shin 

Little is known about comic artist Hank Shin, creator of the comic "Dina-mite." "Dina-mite" was a regular feature on the Topaz Times, which was published daily in the incarceration camp in Topaz, Utah from 1942-1945. 

Let's Talk About It!

1. Which comic was your favorite? What did you like about it?
2. Are there any themes or topics that seemed important to these artists to capture in their art? Which ones and why do you think they were important for them to share?
3. How was humor used to represent the camp experience? Why might the artist have used humor in this way?
4. How do these representations of camp differ from those created outside of camp, like Superman? How are Japanese Americans represented?