Sorting Information
The foremost round of discussions & first steps
Tutorial #1
Tutor's comments:
- Are there any museums in that area dedicated to the Cherek tragedy? It is possible to contact them about the project. They may provide an opportunity to print, publish or install an exhibition.
- If the project is only part of the story, then it is possible to start from the middle.
- Idea: to use several characters - representatives of different sides of the conflict, from whose points of view the story is being told.
- Idea: start the story from the present and go to the past. Show how the place looks now.
- Will this work be completely documentary, or will it contain art inserts?
- Reference: Shaun Tan - Arrival.
- Insert the image of fear as a separate character.
- Study the work of Victoria Lomasko; talk to her about the project.
- Are there any museums in that area dedicated to the Cherek tragedy? It is possible to contact them about the project. They may provide an opportunity to print, publish or install an exhibition.
- If the project is only part of the story, then it is possible to start from the middle.
- Idea: to use several characters - representatives of different sides of the conflict, from whose points of view the story is being told.
- Idea: start the story from the present and go to the past. Show how the place looks now.
- Will this work be completely documentary, or will it contain art inserts?
- Reference: Shaun Tan - Arrival.
- Insert the image of fear as a separate character.
- Study the work of Victoria Lomasko; talk to her about the project.
Thoughts on the given comments:
- I liked the idea of contacting one of the museums in Nalchik because it can really help to promote the project after graduation.
- Even if the project was supposed to be only part of the story, it didn’t seem to me that it should be done from the middle. It would break the strict logic of the narrative, the understanding of events in the minds of the audience, and it would be hard to continue the series so that the parts were more or less the same.
- The idea of Shaun Tan to insert mythical creatures into a historical novel is interesting, but still, I did not want to implement something like that in my project. This is a story about genocide, about real events that were hushed up and ignored. Even without the mythical creatures, this story doesn’t feel too real right now. And with fictional creatures, I would only widen this gap.
- I liked the idea of contacting one of the museums in Nalchik because it can really help to promote the project after graduation.
- Even if the project was supposed to be only part of the story, it didn’t seem to me that it should be done from the middle. It would break the strict logic of the narrative, the understanding of events in the minds of the audience, and it would be hard to continue the series so that the parts were more or less the same.
- The idea of Shaun Tan to insert mythical creatures into a historical novel is interesting, but still, I did not want to implement something like that in my project. This is a story about genocide, about real events that were hushed up and ignored. Even without the mythical creatures, this story doesn’t feel too real right now. And with fictional creatures, I would only widen this gap.
First notes
Development.
I began to reread my notes to understand how I should start the project. However, the material turned out to be too voluminous for illustration to cover all the details of the events.
I had the idea to start directly from the days when there was a need to send Nakin’s detachment to the Cherek Gorge.
On November 21, there was a shootout in Shaurdat; the main goal was to capture the House of Soviets of the Cherek region. The bandits wanted to intercept the first secretary of the Republic of Kazakhstan of the All-Union Communist Party of Bolsheviks, Eneev because he tried to accuse deserters of the murders taking place in the gorge and turn civilians against the «bandits».
After the firefight in the gorge, there was a funeral, which did not have time to complete when Nakin’s detachment moved to Sauta from the Sukan Pass.
But this idea was also too voluminous: one would have to explain why the Red Army soldiers attacked their own fellow citizens, why there were funerals, etc. As a result, I came up with an alternative idea to create a book of eyewitness accounts of the NKVD attacks in the first affected village - Sautu + insert notes on the historical background at the end. So, the project could be good for the following reasons:
- coverage of events in full
- stories from the first point of view, which reduces the distance between the viewer and the events
- limited space (Sautu) is a powerful unifying factor for comics
As a result, I began to reread the stories of eyewitnesses, collecting names and distributing them for the project. Surprisingly, it turned out that the list included relatives of one of my acquaintances-Balkars: their grandfather and grandfather’s sister.
________________________________________
New schedule: 5 weeks x 18 stories = ~ 3,6 stories’ drafts per week.
+ include intro pages of families
I began to reread my notes to understand how I should start the project. However, the material turned out to be too voluminous for illustration to cover all the details of the events.
I had the idea to start directly from the days when there was a need to send Nakin’s detachment to the Cherek Gorge.
On November 21, there was a shootout in Shaurdat; the main goal was to capture the House of Soviets of the Cherek region. The bandits wanted to intercept the first secretary of the Republic of Kazakhstan of the All-Union Communist Party of Bolsheviks, Eneev because he tried to accuse deserters of the murders taking place in the gorge and turn civilians against the «bandits».
After the firefight in the gorge, there was a funeral, which did not have time to complete when Nakin’s detachment moved to Sauta from the Sukan Pass.
But this idea was also too voluminous: one would have to explain why the Red Army soldiers attacked their own fellow citizens, why there were funerals, etc. As a result, I came up with an alternative idea to create a book of eyewitness accounts of the NKVD attacks in the first affected village - Sautu + insert notes on the historical background at the end. So, the project could be good for the following reasons:
- coverage of events in full
- stories from the first point of view, which reduces the distance between the viewer and the events
- limited space (Sautu) is a powerful unifying factor for comics
As a result, I began to reread the stories of eyewitnesses, collecting names and distributing them for the project. Surprisingly, it turned out that the list included relatives of one of my acquaintances-Balkars: their grandfather and grandfather’s sister.
________________________________________
New schedule: 5 weeks x 18 stories = ~ 3,6 stories’ drafts per week.
+ include intro pages of families
Witnesses (Sautu/Silty):
Baisiev M.M. (born 1928)
Baisieva (Mamaeva) T.M. (born 1935)
Gazaev M.B. (born 1925)
Guzoeva (Kilchaeva) S.Zh. (born 1919)
Zhangurazova (Misirova) Kh.M. (born 1930) (?)
Kishtikova (Ekhchieva) F.L. (born 1936)
Kuchukova R.M. (born 1936) (?)
Misirov A.Sh. (born 1926)
Misirov A.Ch. (born 1918)
Misirov Yu.Kh. (born 1925)
Mokaeva (Glasheva) Z.A. (born 1934) (?)
Nogerova (Glasheva) H.I. (born 1930) (?)
Sarbasheva (Temirzhanova) Kh.O. (born 1914) (?)
Sumaeva (Sarbasheva) T.Yu. (born 1926)
Temirzhanova (Sarakueva) B.K. (born 1919)
Tetueva (Gazaeva) K.B. (born 1911)
Khubolov A.O. (born 1920) (?)
Endreeva (Glasheva) N.M. (born 1920)
________________________________________
«?» - the village was not indicated in the stories. Perhaps people were talking about Glashevo.
Baisiev M.M. (born 1928)
Baisieva (Mamaeva) T.M. (born 1935)
Gazaev M.B. (born 1925)
Guzoeva (Kilchaeva) S.Zh. (born 1919)
Zhangurazova (Misirova) Kh.M. (born 1930) (?)
Kishtikova (Ekhchieva) F.L. (born 1936)
Kuchukova R.M. (born 1936) (?)
Misirov A.Sh. (born 1926)
Misirov A.Ch. (born 1918)
Misirov Yu.Kh. (born 1925)
Mokaeva (Glasheva) Z.A. (born 1934) (?)
Nogerova (Glasheva) H.I. (born 1930) (?)
Sarbasheva (Temirzhanova) Kh.O. (born 1914) (?)
Sumaeva (Sarbasheva) T.Yu. (born 1926)
Temirzhanova (Sarakueva) B.K. (born 1919)
Tetueva (Gazaeva) K.B. (born 1911)
Khubolov A.O. (born 1920) (?)
Endreeva (Glasheva) N.M. (born 1920)
________________________________________
«?» - the village was not indicated in the stories. Perhaps people were talking about Glashevo.
Tutorial #2
Tutor's comments:
- It is demanding to arouse the reader's sympathy for a large number of characters. The comic needs a character to connect with emotionally. For example, add yourself to the story. Make it personal.
- All these stories need to be given context so that the audience understands what is being said.
- When studying art references, pay attention to the introduction. How does the story begin? How are the characters introduced? How do actions start? How is the event context shown?
As a suggestion, it is possible to present a large number of characters by drawing a wall with their photos at the beginning.
- It is demanding to arouse the reader's sympathy for a large number of characters. The comic needs a character to connect with emotionally. For example, add yourself to the story. Make it personal.
- All these stories need to be given context so that the audience understands what is being said.
- When studying art references, pay attention to the introduction. How does the story begin? How are the characters introduced? How do actions start? How is the event context shown?
As a suggestion, it is possible to present a large number of characters by drawing a wall with their photos at the beginning.
Thoughts on the given comments:
- I agreed with the problem of reader sympathy. I also had to think really hard about how to connect the stories together.
- I considered the study of artistic materials important, but choosing between the search for relationships and research, the first seemed to be more necessary at this stage of work. There were so many names and places in the stories that I couldn't get the holistic picture in my head. A lot of problems were caused by the fact that in the source where I took the stories, the authors were scattered illogically. It was almost impossible to figure out who was whose relative.
- I agreed with the problem of reader sympathy. I also had to think really hard about how to connect the stories together.
- I considered the study of artistic materials important, but choosing between the search for relationships and research, the first seemed to be more necessary at this stage of work. There were so many names and places in the stories that I couldn't get the holistic picture in my head. A lot of problems were caused by the fact that in the source where I took the stories, the authors were scattered illogically. It was almost impossible to figure out who was whose relative.
