Blindfolds in the Firelight
Nigeria is burning, and not in the metaphorical sense the diplomats might prefer. Churches smolder where congregations once sang, and the corpses of believers fertilize the red earth. Yet the men in charge—both in Abuja and in newsrooms across the world—walk through the flames with dark glasses and white canes, pretending it’s all a trick of the light. In our decidedly dark cartoon, Tinubu’s grin is as hollow as the charred sanctuary behind him, and the mainstream media figure tagging along might as well be his seeing-eye dog. Together they shuffle through the wreckage, tapping out a grim rhythm of denial.
It’s a macabre dance of willful blindness, one where truth is inconvenient, so it’s better not to trip over it.
Selective Vision and Convenient Silence
This isn’t ignorance, it’s an art form. The global press can turn a blind eye faster than a cat in a sandstorm when the victims are Christians in Africa. Editorial boards that can spot microaggressions in Midtown Manhattan somehow lose signal when whole villages are erased in Plateau State.
It’s the same cynical reflex that’s kept Western governments mum: if you can’t fix it, ignore it; if you can’t ignore it, rename it.
Call it “ethnic tension,” “farmer-herder conflict,” or some other antiseptic phrase that lets everyone sleep better. Today’s graphic representation isn’t exaggeration—it’s a mirror held up to our collective cowardice.
The Echo of Old Darkness
History has seen this blindness before. In 1939, civilized Europe turned away from smoke rising over Poland because the truth was too ugly to print.
Today, the smoke curls again—this time over Nigerian churches—and the world’s conscience scrolls past.
Our cartoon’s dark humor hides a grim accusation: evil thrives when polite society averts its gaze.
Nigeria’s Christians are being slaughtered in slow motion, and the self-proclaimed guardians of truth are fiddling with their blindfolds.
This isn’t satire anymore. It’s a crime scene sketch.
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