At one point they're forced to sleep in horses' stalls, but George views this as an adventure: "We get to sleep where the horses slept! Fun!" For his parents, of course, it's no such thing. Allowed to keep only what they can carry, Takei's parents must sell off their belongings for next to nothing. It's spring of 1942 when Takei's family is first taken from their Los Angeles home. By incorporating textures ranging from fine hatching to Ben Day dots, she demonstrates how digitally created drawings can have all the dimensionality of work drafted on paper.īecker also helps dramatize the contrast between George's and his parents' experiences of their ordeal. It's a shame Becker's artwork isn't in color, but she provides a master class on what one can do in a black-and-white format.
He's helped by his co-writers, Justin Eisinger and Steven Scott, and artist Harmony Becker.
After years spent acting on stage and screen (he's best known for his role as Star Trek's Lieutenant Sulu), Takei has clearly learned a lot about shaping and directing his audience's emotions. In fact, despite the grimness of its subject matter, They Called Us Enemy is a lively, vibrant book. His outlook provides a striking contrast to government officials' stale attempts to explain, excuse and ultimately seek forgiveness for the evil they've done. Even as the Takeis are wrenched from their home, transported hundreds of miles and forced to live in camps, young George's openness and curiosity are unflagging.
It's young George's point of view that shapes the story, imbuing it with childlike energy. The very structure of Takei's narrative underlines this fact more than a political speech ever could.
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