The “seven deadly days” in modern times

I have a hard time respecting those who market food they won't eat, clothes they won't wear, vehicles they won't ride, homes they won't live on, and platforms they won't shop on, who don't hesitate to play into the hands of capital, whose most sensitive concern, despite everything going on in the world, is the fluctuations in their bank accounts. Their relationship with some cunning advertisers is like a boring ping-pong match where we know there won't be any losers. Tickets to this supposedly publicly funded competition are always expensive, and no matter how you look at it, it's a waste of time and money for the audience. Those who understand the absurdity of the competition, who take control of their spending, question and criticize the contestants, are completely in the interest of capital. As if capital isn't just exploiting natural resources, and as if it's not inventing new spending items for people under the guise of environmental advocacy, it also knows how to exploit young people. While hundreds of thousands who will somehow experience modern-day slavery are languishing in their schoolrooms, hoping for a dignified and prosperous future, the bosses who will manage them have already been appointed, wringing their hands, and counting the days to build their corporate staff. While calling the wrong thing wrong can be costly, individuals from all segments of society—students, academics, workers, civil servants, salaried employees, artists, and craftspeople—are emerging to highlight existing contradictions. The respect of individuals and institutions that channel their resources not into easily accessible cultural and artistic activities that advance society but into projects that encourage division, conflict, and strife, and that, as if that weren't enough, exaggerate ignorance, is nullified in the consciences of those who think and produce. And it will remain so.

The book I'll be discussing today is SEVEN DEADLY DAYS , a graphic novel that reflects the dark side of an ambitious system that prioritizes profit over human resources. Its creator is writer, illustrator, and designer Turgut Yüksel. Yüksel is a versatile artist who has written twenty-two books for children and adults, hosted a radio program, and lectures at universities on culture, urbanism, and design. Published in September by Desen Publications, he recounts the seven days of a white-collar job. He explores the powerful, complex, and dangerous aspects of the human psyche, amidst the suffocating effects of routine, within a framework of reality and mystery . Today, I'd like to share the back cover text of the book with you and leave the floor to the author. The artist's answers to my questions will give book lovers an insight into his story, which possesses a depth belying the simplicity of his drawings.

“A big company, a graphic designer, seven days, dirty work, the same things every day, the same emotions, the same deaths, a strange being, a serial killer? A dream? Real?”

BK: The back cover blurb summarizes the content so well. If I were to proceed in this order, how did the idea of ​​focusing on the life of a white-collar graphic designer in a metropolis like Istanbul, amidst increasingly challenging living conditions, come about? We see the young man whose life we ​​focus on every day of the week, on public transport, in the office, on a coffee break, and—in my opinion, a factor that makes the plot more palatable—on the fire escape. Is there a particular reason you chose to illustrate the story in a sterile manner, without leaving these settings?

TY: I worked as a graphic designer for a long time and also taught classes in graphics and communications departments for a long time. Because I was familiar with the subject and the working conditions in the "market," such a character was perfectly suited to the story I had in mind. Yes, as you said, comics take place in limited spaces. Because in real life, an employee—with some exceptions—has no other place besides home, work, and public transportation. For this story, there are additional spaces, a fire escape—a cage—where they can be alone at work or have a brief conversation with another employee at their level. To have an external space, one must have the money and the time. Even if they don't have the money, they have the time... Let's imagine someone who starts work at 9 a.m. and their workplace is easily accessible, say in Beşiktaş. What budget would allow for a place in Beşiktaş, close to their workplace, right now? The economic crisis and the resulting housing shortage have driven most employees to the periphery of the city. Continuing our example, an employee exiled to Beylikdüzü must wake up at 6 a.m. to get to their "reputable" workplace. It takes 2.5-3 hours to get home in the evening. So, what was originally an 8-hour workday can now reach 14 hours with transportation. The sheer fatigue of this transportation journey alone is enough to drive someone to the couch. And that's not even counting the work extensions that encroach on their time at home.

BK: Even though the days of the week carry the same weight for the young man, surreal images and thoughts that break the similarities cross his mind. Could we say that the source of those moments that might be considered extraordinary is actually a defense or rebellion against routine and exploitation?

TY: Almost all of us have inwardly cursed someone or a situation in our lives that has pressured us, violated our rights, or left us helpless. This is a response to the helplessness that comes with being unable to do anything despite our inner rebellion. It's the cure for "I do what you say, but in my mind, I'm sending you to hell." This applies to the character in the story as well, though at a different frequency. Or perhaps the things they see aren't surreal, but real.

BK: It's true that the narrative opens up space for reflection on professional job descriptions, resignations, promotions, and employee rights. In the story, the young man encounters a request that sets an example for modern cybercrime. Taking this realistic element into account, could you offer any insights into the story's interplay of fact and fiction?

TY: It would be more accurate to offer these clues from real life rather than from a story. We see this is very common, ranging from the most general to the most specific. Creating images for manipulation, disinformation, propaganda, or ad hominem, or editing something from a different context to produce a different result, has almost become legitimate. When the intention is dark, both the material and the skill inevitably serve it. We can adapt this ratio to the story.

BK: What impact will your book have on those who read it, on those who struggle to survive despite the pressure and impositions of the system ? Do you have any predictions or expectations about this?

TY: My relationship with the books I write and illustrate lasts until I finish them. Once the book leaves me, it enters a different realm, and my dominance there ends. As someone who loves this relationship and wants it to remain so, it's beyond my authority to predict or anticipate any feelings the reader will feel. What I wanted to do was say, "I've been around that, so I understand you."

BK: Figurative, angular drawings have a soothing quality. Even though the protagonist's inner world is turbulent, there's a sense of calm and cohesion in the drawings. I likened the eyes of the people you drew to those of Horus. The expressions of the mysterious being in the story struck a chord with Horus and Anubis. What role does this being play in the story?

TY: Although the character experiences internal turmoil, his life and actions are very routine. He has no place to do, no place to let go, no place to escape. As you mentioned, depicting this movement and life routine as it is creates a contrasting image to the character's inner world. And Seth emerges as a manifestation of this inner world, or Seth finds him while wandering. Seth's emergence—which could have been any being—also stems from the story's plotting technique. I drew the book following the rules of ancient Egyptian painting, and as an extension of this style, the existence of that world has survived to this day.

BK: I guess I'm not familiar with the formal details of ancient Egyptian gods :) Looking at the shape of his mouth and ears, I now realize it's Seth, not Anubis. When it comes to death, Seth can be both a killer and a savior. The way the protagonist describes him and their conversation in the final pages are noteworthy. So, going beyond the book, you teach at universities. What are your observations about the psyche of the generation you're addressing?

TY: I've taught classes. I don't know about the last few years, but based on my experience in previous years, I can say this. In almost every semester, only ten percent of the class was aware of themselves, what they were trying to do, and what the future would hold. They prepared accordingly. The other ninety percent envisioned starting a good job with a good salary right after graduation. Some of them took jobs after graduation, where they couldn't even get overtime. Some were unemployed and were willing to accept any conditions to find a job. While dreaming of becoming designers, they became operators at a blueprint shop. They experience this disappointment intensely, and in their helpless state, they don't know what to do. This isn't their fault, not at all. It's the fault of everyone who brought them to this point without exposing them to these dreams, without exposing them to reality, without telling them the truth, and without teaching them how to deal with it.

BK: Your observations are valuable and encompass a reality that imposes a responsibility on anyone who cares about their children's future. You've created a series of books for children in the past. Will there be more? Is there a new project on the horizon, a story taking shape in your mind, waiting to be turned into a film?

YK: I love writing and drawing for children. More will follow, but not as books, but as board games. There are also graphic novels waiting in the wings.

BK: Here's to many works that will make you say to your readers, "I understand you."