"I believe my cartoons are on the same frequency as to what the Iranian people are feeling," says Iranian expat cartoonist Nik Kowsar.(Courtesy of Nik Kowsar)

Iranian-born political cartoonist NIK KOWSAR has been jailed because of his commentary. He has received death threats. He has refused to cease his cartoon criticism of the Iranian leadership. And he has received the international Award for Courage for Editorial Cartooning award from Cartoonists Rights Network.

So what is it that compelled him for years to draw cartoons within Iran's borders, knowing full well any metaphor could be misconstrued and lead to his arrest? Was it the national fame? Sense of purpose? Passion, courage or political conviction?

No, Kowsar quickly replies. "As a cartoonist in Iran, you should be nuts," he says. "I was nuts."

Amid the recent and deadly post-election uprising in Iran, the exiled Kowsar -- he nows lives in Toronto with his family -- has seen his cartoons held up by demonstrators in the streets of Iran. The 39-year-old cartoonist feels a kinship with these people -- HIS people. The former geology student fervently hopes that time and pressure -- elements so key to geology -- will improve political conditions in Iran. And as he hopes for change, Kowsar keeps drawing -- aiming with each penstroke to encourage his like-midned compatriots.

Comic Riffs recently caught up with Kowsar to talk art, politics and the inevitable intersection of Iranian art and politics.

MICHAEL CAVNA: I've got to ask, Nik: Have you seen the viral "Neda" video?
NIK KOWSAR: I have watched it 20 times -- and I have cried at least 15 times. When she first saw it on CNN, my 10-year-old daughter was in shock for hours. It was a big shock for me, too.
Years ago, I had this dream that I was followed by the militia and shot. I've had this nightmare for many years. I left Tehran because I thought things would change and that this was what would literally happen. My wife made fun of me and said, "You're a dreamer." I said, "You just connect the dots." Yesterday, she told me was so happy that we had left Iran. She was sure I would have been harshly beaten.

MC: What are your reactions to the post-election uprising? How does it make feel -- and how do you assess it?
NK: What I've seen in [recent] weeks -- even before the election -- is the uprising of the middle class. They have been shut off from the whole form of politics in the last four years and they were trying to show their power by pushing out [President Mahmoud] Ahmadinejad. In 2005, half of the eligible voters [participated]; there was 85 percent turnout this time. Because of Ahmadinejad, the "silent majority" entered the play. It was weird. The silent majority hates Ahmadinejad. Former supporters weren't supporting him. The Guard and the council and the interior ministry didn't let the silent majority in on what was going on. The interior ministry and the Guard and council were writing down the votes for whatever they wanted and however they wanted to count it. It's not important who votes -- it's important who counts the votes.

MC: Since you've criticized these practices in your cartoons, how has the Iranian leadership responded?
NK: I'm serving the citizens and trying to put my opinions [out there]. The Iranian government doesn't like my cartoons.

Published by Roozonline.comEnlarge Image

MC: Do you think social networking has made a big difference during this uprising?
NK: I have two pages on Facebook -- I have 500 friends on one
and 1,500 on the other. When I post a cartoon, I see that many of my friends are sharing my cartoons -- by that, I mean tens of thousands are getting these cartoons and e-mailing them. They are spread throughout the world. I feel social networking can help this movement in a way. I'm not sure the Iranian government can [continually] stop people from spreading the word ... by trying to block communication. ... Now, people in Tehran hold up their hands and show bypassers my cartoons -- I've seen a lot of people do that. That's very touching to me. ... I believe my cartoons are on the same frequency as to what the Iranian people are feeling. It helps them.

'FRANK AND ERNEST' (NEA)Enlarge Image

This Riffster doesn't necessarily mind that "Frank & Ernest" traffics in old jokes. No, what really galls is when these jokes are old even within the lifespan of "Frank & Ernest."

Or, put in other way: When strips rerun an entire's weeks of previously published strips -- as "Frank & Ernest" has been doing this week -- the comic should include a notice that says: "Rerun." Or "Flashback." Or: "Does this gag seem eerily familiar? Well, it should, because you previously read it right here in 1982, 1993 and -- yes! -- 2001."

Some strips, such as "Doonesbury," properly advertise their "flashbacks." And we all know the "Peanuts" are "Classics." That's as it should be. Sure, we can peer closely to inspect the copyrights on each strip, but who takes the time to read all super-fine print? By comparison, even my televison's channel guide typically tells me when an episode is an "RR" or "Repeat." Why can't more comics?

And to be clear: That's not to say cartoonists should never dip into the archives. 'Riffs doesn't begrudge artists who rerun old strips a coupla weeks a year when they, say, take a vacay or travel to a 'toonists convention. Just advertise a little more prominently that the strip has decided to play some of the oldies.

And then there's the fact that this trend is just especially galling with "Frank & Ernest." The creator of the strip, Bob Thaves, has already gone to the Big Vacation in the Sky. So why not advertise that the strip has hit the archives of the original cartoonist -- that actually might even get my hopes up.

Lastly, the strip below, as one commenter noted here, is a shaggy dog story. Creatively, however, I'll always prefer that my comic strips be puppies.

Does anything about cartoon reruns get your goat? If so, you've invited to share your rants, raves or rationale.

'FRANK AND ERNEST' (NEA)Enlarge Image

This Riffster's favorite political cartoons this minute...

'DAVID FITZSIMMONS' (courtesy of cagle.com)

1. DEATH KINDLY STOPS FOR THEE: When memorializing Robert McNamara, many a cartoonist was quick to invoke the Grim Reaper. In its effective understatment, Fitzsimmon's was arguably the best of this bunch.

2. THE STALK OF THE TOWN: NATE BEELER on Marion Barry: Can't recall the last time I saw such an apropos Marion Barry cartoon. Steer to-ward the light, Mayor Barry...

3. THE LAST STRAW? DAUGHTER-GATE: JOHN SHERFFIUS on Sarah Palin: In terms of artistic execution, simply like the, well, simplicity. An iconic image, neatly appropriated.

4. STAND-UP CANDIDATES: MIKE LUCKOVICH on Al Franken: Maybe I'm just a sucker for seeing ANYone caricature Carrot Top.

5. AND LASTLY, SPEAKING OF McNAMARA: Portland's Jack Ohman has begun a Caption Contest that asks: What words will Robert McNamara hear at the pearly gates (aka The Ultimate Parallel). Not a bad choice among five sly captions -- you can vote for your fave.

When Censorship Takes the A-Train...

'CANDORVILLE' (WPWG)Enlarge Image

This week in "Candorville," almost nobody was offended by a cartoon that was seen by many even though it didn't run. Sound contradictory? Well, so much involving Michael Jackson can quickly get that way.

To clarify: Yesterday, Comic Riffs asked you whether you were offended by a censored "Candorville" strip that alluded to Jackson's child-molest cases. A whopping 95 percent of respondents replied: No, not really -- because "it's fair game when commenting on Michael Jackson."

This came after creator Darrin Bell's syndicate, Washington Post Writers Group, censored the strip, prompting Bell to rewrite the last two panels (as pictured above).

Although he blogged about the changes, Bell had no issue at all with the censorship by his editor, Amy Lago. (Full disclosure: Lago was my comics editor when I was syndicated by United Feature Syndicate.) Bell tells Comic Riffs: "I think Amy was right to say no to that cartoon if she thought it was indefensible. That's her job. Censorship is part of the editorial process and it's the reason papers trust syndicates."

For her part, Lago -- a seasoned comics editor -- stood by her decision. As a window into this process, she explained The Anatomy of a Censorship to Comic Riffs:

"There are certain detestable acts, such as rape and pedophilia, that can stop some readers from finding any humor whatsoever in a strip -- or in a column or in a standup routine. Darrin's original strip brought back the pedophile accusation in Panel 3. And also turned it into a punchline. I found that insensitive and felt it would have been hard to defend to anyone who has been the victim of a pedophile and feels that the subject is no joking matter.

"Granted, Darrin's not known for treating issues with sensitivity -- he calls out hypocrisy in 'Candorville.' And his point -- that hero-worship of a suspected pedophile is creepy -- is a candid one. And it's entirely fair. But we stand by our judgment that pedophilia isn't a joking matter, at least not for newspapers yet. And Darrin, though making a larger, more important point, did turn it into a joking matter in that third panel.

"We told him it was fine in the first panel, the set-up, because it was far enough removed from the joke. But we felt we couldn't send the strip if he referred to it in the third. It was still just too close to the joke.

"He was free to post it on his blog, of course, where he could defend it. It's a good point, and it was a sharp strip. It was more succinct than the final, and for those who would not be offended, it's a better strip."

To which I would add, there are two things that can be especially invaluable to a cartoonist: Having a good editor, and when needed, having a good blog.

ELSEWHERE 'ROUND THE PAGE...

'FRAZZ' (UFS)Enlarge Image

'FRAZZ' (UFS)Enlarge Image

Yes, fellow Riffsters, time once again to play: Defend...That... 'Toon!

When The Post returned "Judge Parker" to its funnypages this year, the stay of execution perhaps adversely affected no one worse than Frazz.

Since moving to KidsPost, of course, the "Frazz" dailies run only four days a week. Plus, the strip sometimes now runs in random order, eschewing continuity. (Case in point: Today's strip as published in The Post; the intended rundate [July 3] is from last week.)

In this space, some readers have expressed how much they like "Frazz's" smarts, wit and cultural/historical references. Some other readers, though, charge the strip with intellectual smugness.

So, this week's question to you is: Should "Frazz" be returned to the daily comics page -- or does it belong on the KidsPost page or nowhere in The Post at all? (Note: This exercise is all in good, nonbinding fun.)

If you're not a "Frazz" fan, feel free to Impugn-That-Toon. But if you are a fan, then here's your chance to Defend That 'Toon.