As strategists on both the left and the right celebrate the inclusion of Paul Ryan on the 2012 GOP ticket for what seem like a lot of the same reasons, I suppose that we can also add humorists and cartoonists the list of beneficiaries of this nomination. So for the moment at least, everybody is winning.
Many of this first round of editorial cartoons also emphasize the marquee name of Ryan, whose ideological convictions and actual specificity when it comes to stuff (like, you know, budgets) threaten to eclipse whatever it is that Romney was predicted to one day have had from the beginning. It’s not surprising, then, that many cartoons adopt pretty a reasonable approximation of Ryan’s star status, as though betraying a certain ironic accuracy in Romney’s own recent gaffe that, when introducing Ryan at a rally, the attendees were meeting “the next president of the United States.”
One of the more curious trends among Romney/Ryan cartoons, however, is that of violence, in the sense that Ryan’s proposed budget is set to (or threatens to, or is thought to) significantly curtail federal spending, which forces us to consider the vocabulary with which we address financial reform — “slashing the budget,” for example, or “trimming the fat,” or the seemingly benign, “budget cuts,” which nevertheless implies a sense of slicing, incision. When, however, cartoons begin to give a visible body to what in language has become almost innocuous or unremarkable, the results can be a little literally gruesome, as we see in this telling cartoon by Dale Cagle:
Although Cagle’s may be the most extreme example, there is a certain stab-happiness and almost Shining-grade blade-eerieness to the way in which sharp implements signify Ryan’s fiscal conservatism.