Trauma In The Fixer
In The Fixer, the comic is set in 2001, where Sacco’s avatar as the war reporter returned to postwar Sarajevo and an economically devastated Bosnia. The postwar scenes indicate the tentative relationship between Neven and Sacco’s avatar, by utilizing the graphic and narration to allow the audience to analyze the ideology and subjectivity of the characters. According to Terri Tomsky, he defines the trauma economy as where the trauma interacts “with other capitalist power structures” (49). Similarly, Sacco reminds the reader that the story reflects the realistic side of the journalism industry, the story is based on the economic value exchange of trauma that is surrounded by political issue; thereby, “enable or disable” the awareness of particular
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In another word, the circulation of Neven’s trauma turn selling into a “social necessity” for himself, regarding of his individual needs. For instance, in the beginning of the storyline, Sacco finds himself constantly buying Neven meals and drinks, at the same time being a “budget-conscious freelancer”, Sacco is alerted at the way when Neven is around – “My wallet eases out of my trouser and starts spewing money!” (Wilson and Maher 132; Sacco 59). Neven even admits as much to his interlocutor, that the relationship is based on the economic value of trauma: “When massacres happened,” Neven told Sacco, “those were the best times. Journalists from all over the world were coming here” (Sacco 49). The encounter of Neven and Sacco reminds the reader the power of money in a financially devastated war zone. Thus, the listening and narration in The Fixer reflects the realistic side of the journalism industry, sharply attentive to the way Neven represents and recognizes his trauma in the political
In another word, the circulation of Neven’s trauma turn selling into a “social necessity” for himself, regarding of his individual needs. For instance, in the beginning of the storyline, Sacco finds himself constantly buying Neven meals and drinks, at the same time being a “budget-conscious freelancer”, Sacco is alerted at the way when Neven is around – “My wallet eases out of my trouser and starts spewing money!” (Wilson and Maher 132; Sacco 59). Neven even admits as much to his interlocutor, that the relationship is based on the economic value of trauma: “When massacres happened,” Neven told Sacco, “those were the best times. Journalists from all over the world were coming here” (Sacco 49). The encounter of Neven and Sacco reminds the reader the power of money in a financially devastated war zone. Thus, the listening and narration in The Fixer reflects the realistic side of the journalism industry, sharply attentive to the way Neven represents and recognizes his trauma in the political