핵심요약

• 12일 전쟁 기간(2025년 6월 13일~24일) 동안 이란 국민들의 경험을 다룸
• 폭격으로 인한 군인, 과학자, 정부 관계자 및 민간인의 희생을 다룸
• 전쟁 중에도 일상적인 삶(인터넷 부족, 반려동물 등)이 지속된 현실을 제시함
• 이란 국민들에게 '기억하라, 이란을 기억하라'는 메시지를 전달함

도입

본 기사는 단순한 역사적 사건을 넘어, 지정학적 위기가 일반 시민의 일상과 심리적 안정에 미치는 영향을 분석한다는 점에서 투자자에게 중요한 시사점을 제공합니다. 전쟁이라는 극단적인 상황 속에서 인간의 기본적인 삶의 질과 회복력은 국가의 장기적인 안정성과 사회적 자본의 척도가 됩니다. 따라서 이 앤솔로지는 지정학적 위험이 경제 및 사회 시스템에 미치는 파급 효과를 이해하는 데 중요한 통찰을 제공합니다.

본문 1: 지정학적 충격과 일상성의 역설

이야기들은 12일 전쟁이라는 물리적 충격이 발생했음에도 불구하고, 사람들이 어떻게 일상적인 루틴을 유지하려 했는지에 집중합니다. 예를 들어, 한 화자는 인터넷 부족을 불평하지만 이는 정보 접근의 문제가 아니라 일상에서 벗어나지 않으려는 심리적 방어 기제였음을 보여줍니다. 이는 전쟁과 같은 외부 충격이 사회 시스템 자체를 붕괴시키기보다는, 개인의 심리적 경계를 시험하고 일상적인 활동을 유지하려는 인간의 본능적인 회복력을 보여줍니다. 이러한 현상은 지정학적 리스크가 경제적 지표에 미치는 영향을 평가할 때, 단기적인 충격뿐만 아니라 장기적인 사회적 탄력성(resilience)을 고려해야 함을 시사합니다. 즉, 물리적 충돌이 발생하더라도 기본적인 생활 기반이 유지될 때 사회적 붕괴의 속도가 늦춰질 수 있다는 점이 핵심입니다.

본문 2: 사회적 자본과 회복력의 가치

각 이야기는 전쟁이라는 상황 속에서 사람들이 서로를 어떻게 지지하고 공동체의 유대를 어떻게 유지하려 했는지에 대한 다양한 시각을 담고 있습니다. 반려동물을 피난길에 동반하는 장면 등은 생존의 위협 속에서도 인간이 관계와 애착을 통해 심리적 안정을 확보하려는 노력을 반영합니다. 이러한 인간적인 연결망과 사회적 자본은 국가 시스템이 붕괴되더라도 공동체의 회복력을 유지하는 핵심 요소로 작용합니다. 투자 관점에서 볼 때, 사회적 자본이 높은 국가는 외부 충격에 더 잘 적응하고 장기적인 경제적 안정성을 확보할 가능성이 높습니다. 따라서 지정학적 불안정성이 높아질수록, 물리적 자원뿐만 아니라 사회적 결속력과 심리적 안정성을 측정하는 지표를 포트폴리오 분석에 포함해야 합니다.

본문 3: 장기적 관점에서의 지정학적 위험 평가

이 앤솔로지가 보여주는 것은 단기적인 군사적 충돌의 결과뿐만 아니라, 장기적인 관점에서 지정학적 위험이 사회경제적 시스템에 미치는 영향을 이해해야 한다는 점입니다. 전쟁의 결과는 단순히 군사적 손실로 끝나지 않고, 정보 접근성, 사회적 신뢰도, 그리고 경제 활동의 연속성에 영향을 미칩니다. 이러한 요인들은 장기적인 투자 전망을 결정하는 데 있어 필수적인 변수입니다. 앞으로의 지정학적 상황 변화에 따라 이란과 같은 지역의 사회적 안정성과 경제적 회복력은 변동성을 키우는 요인이 될 수 있으므로, 이러한 비군사적 요인들을 면밀히 추적하는 것이 중요합니다.

결론

결론적으로, 이 앤솔로지는 전쟁이라는 극단적인 상황 속에서도 인간이 일상적인 삶을 유지하려는 본능적인 회복력과 사회적 연결망의 중요성을 강조합니다. 지정학적 위험이 현실화될 때, 물리적 자원뿐만 아니라 사회적 자본과 심리적 안정성이 장기적인 경제 안정성을 결정하는 핵심 요소로 작용한다는 점을 재확인합니다. 향후 이 지역의 경제적 흐름을 분석할 때는 이러한 인간 중심의 요인들을 반드시 고려하여 변동성을 예측해야 할 것입니다.

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원문 링크: https://news.google.com/rss/articles/CBMiwwJBVV95cUxPQmdIYUQtLUl1aERfZ2RwU3hlMGhmeVZ3bEhaZzFxc1ZxX290ZHBpRFhEV2U4LWxCaS1wdU9UcTZwV2FnV1BiVHlORFU2UnVLYm9IeUI3UzdIU1Q2UjBGOEo0Wm0xWklWZ18xY0NfS2ZHckNVT1otMm1vbmJpVDQ5R2VVUnlLQS1MNzNhUVl1MVBRbHJmTV9RRm1IbGs5SExicGFMN2NkMmJ2UVF4Vm4tMEQzUmE4UXJWZHAyU1RrUGVUMmNPelM3Mm90Z0pfMERHOUZSTkx3QnhaMmV3eVNMVXdHU3pTZklKb0s3ZjRRRVpvWGpjdTJobkN5QmJhUDRWU1g5aEdmMTE5cFNwZDdLX3lRdmtYZXQtU3hOTGFFaDVYdGY5dGtzYXViMGdhcTZqUTV1b1R3N0hXVVNYVEUyWU03Yw?oc=5

I Won’t Pretend These Missiles Are Stars: Life in Iran During the 12-Day War - The Comics Journal

The advantage of a collection such as this is not only the diversity of stories told, but also the wide variety of ways to tell and draw those stories, as they want readers to understand, as much as they can, the suffering that occurred. In this anthology by The Cartoonist Collective in Tehran, they show the readers a multitude of perspectives on the twelve-day war (June 13 to 24, 2025), when Israel bombed Iran’s military and nuclear sites in a surprise attack, killing military personnel, scientists, government officials, and civilians. Iran retaliated, also hitting military, government, healthcare, and civilian sites, killing people in all areas. Near the end of the twelve days, the United States also bombed Iran, which led to Iran’s attacking a U.S. military base in Qatar, before a ceasefire on June 24. Their dedication calls for people to hear their stories and see their lives, as they say they have only one request: “remember us, remember Iran, and speak loudly about it.”

One aspect common through each story is, as one might expect, simply how one functions during a war. While each story presents that reaction differently, all of the narrators spend a good part of their work reflecting on how they are feeling about day-to-day life during this moment in time. In the first story, “12 Days,” the narrator complains about the lack of internet, not because they are unable to obtain any information about the war or their friends and family, but because they have no way to distract themselves from the mundanity of their days. In “Lappe Letters” the narrator seems more concerned about their cat than anything else, even crafting a scene near the end of the story where everybody seems to be bringing their various pets as they flee to what they believe is a safer location. The artists want to bear witness to the realities of life, however minor they may seem, as people’s earthly routines don’t cease to exist simply because Israel and the United States are bombing them.

In one of the bleakest works in the collection, aptly titled “Memento Mori,” the narrator’s first reaction is to prepare their body—which they refer to as a corpse—as if they’re a mortician. Applying makeup and layering themselves with jewelry from friends and family with the comment that while they might not be able to “choose the ending, but at least [they] can stage the scene.” “My Dream City,” one of the most fearful, heartbreaking stories in the collection, follows: Lyanna, our narrator, an art student about to attend their final, at which, along with their fellows, will present the teachers with a surprise anthology. When she has to abruptly leave due to the war, she reflects, saying, “I’m not mourning what was. I’m mourning what never got to be”, grieving her life before it is even over follows the hopelessness that pervaded Tehran, even among those who ultimately survived the war. The artists try to find ways to wrest control back in the midst of an utter lack of agency.

The art throughout the collection is varied and distinct, but with similarities carrying throughout. An odd example of that consistency is that almost every work has to convey the bombing, resulting in a recurring use of the word “BOOM” in the background panels. “The Fireworks,” uses the reverberation, “GROOM,” but ultimately must bring in at least one “BOOM” as well, with an El Greco-like focus on light forming the background. They change the colors, size, and emphasis of that wording, but all use a stereotypical sound for bombs that those readers who have never been near a war zone can identify. The use of such a cartoonish diction would seem to show the bombing as less damaging—emotionally, as well as physically—but it has the opposite effect. When trying to convey the fear those bombs instill, they fall back on a simple portrayal, much as one does when moving to stick figures when drawing characters. The more basic, as Scott McCloud writes in Understanding Comics , the more universal. All readers can understand what’s happening in these scenes, even if they’ve never lived through such an event themselves.

Beyond that similarity, though, the artists largely stick to a cartoon-like style, as the name of their collective implies, that they bring their individual quirks to. Early in the collection, in “I Won’t Pretend,” the artist brings in far more colors than most of the other works and even moves to a more abstract style when conveying more complex ideas. Over the final three pages, the art even becomes almost child-like, especially with a picture of a green, stereotypical alien and a drawing of a family with a smiling sun shining down on them, mirroring the simple ideas the text conveys, with wording such as “I hated the word war,” “that small three-lettered word,” “that took so much from us” (on the page with the family) ending with “the wounded people of Iran.” The picture and text combined read like a children’s book, almost as if the idea of the devastation of war is so simple that even a child could understand it. That child-like approach drives home the idea that the world should be able to understand the bombing and the toll it’s taking on the people of Tehran, criticizing a world, especially the United States, that stands idly by while Iranians die.

Not surprisingly, given the dark subject matter and how much of the action in these works takes place a night, most stories lean toward a blue or purple palette to represent the sorrow running throughout each of them. In “12 Days,” the artist offsets those blues with reds and oranges to connect to the bombing happening in the background, even when not directly drawing an object or scene related to destruction. Different artists also bring in a variety of imagery to represent how their narrators feel about the war. In “Nothing,” the narrator draws a clown show, in which not only is the performer a clown, but the people the narrator sits beside are as well. Those other clowns cheer on the show, while the narrator boos, knowing that the emperor is naked, as they point out. As with the child-like art at the end of “I Won’t Pretend,” the artist makes it clear that the world should be able to see the suffering of everyday Iranians and, thus, should work to end the war. Using the traditional imagery from Hans Christian Andersen drives home that the Western world should be able to recognize the absurdity of this situation and act accordingly to stop the bombing.

That range of images echoes the way many of the narrators/main characters feel as the war ends, as well. In “Deadline with Letters,” Mona spends her time during the war focused on work, as she has a lettering and coloring project whose deadline she’s already pushed back. At the end of the piece, she’s happy with the work she did, but frustrated because she never heard back from the editor. Seemingly more concerned about her project than the precarity of life in a war-torn country, she concludes the story by saying, “And to make things worse, our Kickstarter didn’t reach its goal either.” That deadpan response is similar to the narrator in “Lappe Letters,” as her concern for her cat shows up in her inability to find its nametag, eventually embroidering a new one for the cat to make sure people can identify it. As she’s putting the pet back into the carrier at the end, though, she finds the name tag within, and smacks herself on her forehead.

Most reactions to the end of the war are more complicated than these lighter touches. Many characters suffer from survivor’s guilt, knowing that they were safe when so many people weren’t. In “Under the Same Roof,” the narrator hates the propaganda that Iran spins about the war, and she hates Israel for the attack. At the end, she comments, “I felt hopeless, I felt sad, and then I was angry. I hated that we were all being played by people who didn’t care about us, people who made the decisions, but never paid the price.” That anger is a consistent theme, showing up again in “Stay Alive,” a work that is, not surprisingly, about simply trying to stay alive. That idea goes beyond surviving the war to surviving life itself. That narrator ends the piece with a nighttime view of Tehran, as the narrator comments, “It was quite an interesting start to the summer. There’s so much rage inside me, and I’m keeping myself alive by holding on to things that still matter to me. I’m deeply unhappy with the state of my country, and I know I want to leave, maybe then I could have a future…until then…” They know they simply have to stay alive to have any hope of ever leaving. The aftermath of the war seems no more encouraging for the narrator, as staying alive in Tehran isn’t simply surviving this war, but they must also survive their own government. They have no power to withstand the bombs that have fallen, but they also have no agency in their political lives, either. Given the recent attacks from the United States and Israel, the narrator seems prescient, as they must try to stay alive, yet again, even as those people make decisions, but don’t pay any price for them.

The final story, “The Fireworks,” also has one of the saddest views of life after the war, as it ends with no closure, unlike many of the works. The young protagonist is concerned about her aunt and cousins, finding out out that a bomb has landed near them. They survive, but the narrator doesn’t know about her friends. When she says, “There are homes all over that area…those a**holes!", the word home reminds her that her own house is in that neighborhood, even though they’ve fled to safety. When she asks her father, “Is our home alright?” His response, “I don’t know…” fittingly ends the collection, as nobody knows if Iran will ever be alright, as the recent war with Israel and the United States shows. “Home” here refers to their personal home, and also to the country at large. Even if there were no wars with Israel or the United States, there is still the reality of trying to shape a life in a dictatorial country that oppresses its own population. The war of 2026 has, like the 12-day war, made the lives of civilians that much worse and unstable.

There are moments of hope, though, especially in the act of storytelling itself. In “Until After the War,” the narrator has to flee their dormitory and return home, as do many of the students in this collection. They are still terrified, as they say, “The war outside seems to be over, but not inside me.” However, they focus on the power of stories to help see them through. As they lead up to the end of the piece, the narrator comments, “But at least we still know how to create. We know how to turn death and life, our humiliation and our erasure from history, into stories. And if in the end, anything of us remains, it’ll be these stories.” Though that idea is not explicit in most of these pieces, it is the idea that drives this collection. As the title implies, they will face this war and any other wars to come after it head on, using their art to bear witness to what they have endured and continue to endure. They believe their stories will last, so they keep telling and drawing them, so readers can continue to know what their lives are like. They shine a light on the horrors of living through this war, as well as the wars to come, which have come, and will continue to come. They want readers to remember, but they also want readers to care enough to act.

Source: https://news.google.com/rss/articles/CBMiwwJBVV95cUxPQmdIYUQtLUl1aERfZ2RwU3hlMGhmeVZ3bEhaZzFxc1ZxX290ZHBpRFhEV2U4LWxCaS1wdU9UcTZwV2FnV1BiVHlORFU2UnVLYm9IeUI3UzdIU1Q2UjBGOEo0Wm0xWklWZ18xY0NfS2ZHckNVT1otMm1vbmJpVDQ5R2VVUnlLQS1MNzNhUVl1MVBRbHJmTV9RRm1IbGs5SExicGFMN2NkMmJ2UVF4Vm4tMEQzUmE4UXJWZHAyU1RrUGVUMmNPelM3Mm90Z0pfMERHOUZSTkx3QnhaMmV3eVNMVXdHU3pTZklKb0s3ZjRRRVpvWGpjdTJobkN5QmJhUDRWU1g5aEdmMTE5cFNwZDdLX3lRdmtYZXQtU3hOTGFFaDVYdGY5dGtzYXViMGdhcTZqUTV1b1R3N0hXVVNYVEUyWU03Yw?oc=5