CHAPTER XII: CAMBODIA: COMMUNIST ATTACKS April 13-24, 1970

## Corrections/Additions

1. Chhlong has 2 "h"'s and name should be moved as indicated by blue arrow.

2. Battle formerly labled Chhlong should be moved slightly westward as shown by red dots.

3. Add a battle east of Prey Veng town as shown in green.

4. Svay Rieng town should be shown as a town (dot), and not as a battle.

5. Phnom Penh should be starred as a capital city, not as a battle.

6. Battle now marked as Saang should stay. But it's actually a different battle than Saang. New battle marked in blue (on Bassak River) is actually Saang.

7. Hung Loi should be moved closer to Mekong and South Vietnam border as indicated by green arrow.

8. Battles on edge of Base Area 704 should be indicated (marked in blue). and in Parratt's Beat

9. New battles south of Phnom Penh should be shown (marked in red).

Question: Could all battles be made darker?

10. Title should be Communist attacks April 3-24, 1970 (not 13-24)

POP CULTURE

DOONESBURY

© 1970, G. B. Trudeau. Distributed by Universal Press Syndicate.

goes to Dik Browne's *Hagar the Horrible*). Here, the political content is so direct and obvious that the line between comics and political cartoons almost disappears. To the Pulitzer committee which awarded Trudeau a prize for editorial cartooning in 1975 the distinction seems to have already disappeared. Writing social comment under the cover of humor, Trudeau satirizes a number of contemporary figures, ranging from TV correspondents to ex-flower children to Army recruiters. Since his allusions are so immediate, he is a very good guide to the contemporary social scene in America.

Does *Doonesbury* represent the swan song of a dying art form? Some observers think so. They note that many of the adventure strips have been casualties of television, that the syndicates have lagged in developing new talent, and that the edge in innovation has passed from the United States to Latin America, the Philippines, and Japan.

Even if those observers are right, the heritage of eight decades of comic art—and its reflections of our evolving culture—remains. And they may well be wrong: One could as easily interpret the growth of the foreign comic-strip industry as a sign of vigor. The comics are now read by hundreds of millions of people in more than 50 countries. As *Beetle Bailey's* Mort Walker has noted, that's probably the largest number of countries ever to agree on any one thing. That fact alone deserves some scholarly attention.

The Wilson Quarterly/Summer 1978

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