Retelling mythology through comics in Dhaka Comics’ ‘The Story of Durga’

Durga Puja has been one of the most significant festivals in Bengali culture for centuries, evolving through the ages. It has taken different forms in response to different events, and each mandap tells a different story of the community that has built it. The history of Durga Puja and the mythology behind it have been told and retold in diverse forms, some becoming cultural icons, such as Akashvani’s radio programme Mahishasurmardini. Numerous literary works have centred on Durga Puja, and The Story of Durga (Dhaka Comics, 2026) makes a praiseworthy contribution to that legacy through the art form of comics. The comic book was illustrated by artist Arindom Kundu Ayan and edited by Kaushik Majumdar.

The comic book tells the story behind Vijaya Dashami. It begins with Mahishasura and how he received a boon from Brahma that no man or god could ever defeat him. With that blessing, he conquered kingdom after kingdom, finally defeating Indra, the king of the gods, and taking Amaravati, the capital of Swarga, where the gods dwell. Humiliated, Indra returns to Brahma, Vishnu and Shiva and complains about Mahishasura. In response, they create a goddess named Durga, as the boon granted Mahishasura invincibility against men and gods, but not against a woman. Durga, in turn, receives ten gifts from ten gods, each symbolising a fundamental characteristic of the god who presents it. In a ten-day battle with Mahishasura, she finally defeats him and severs his head. The day Mahishasura is killed is celebrated as Vijaya Dashami. That is why Durga is also known as Mahishasurmardini, the slayer of Mahishasura.

The story is simple, yet it has captured the attention of Bengalis for centuries, and they have carried it in their hearts. It has been written from different perspectives, and scholars have attempted to decipher its meanings from different angles. Still, it continues to generate new interpretations. The misogyny inherent in Mahishasura, his failure even to consider that a woman could defeat him, ultimately leads to his demise. Durga’s victory has symbolised the triumph of good over evil for centuries, inspiring countless individuals not only to seek spiritual freedom but also to embrace political resistance. One prominent example is Kazi Nazrul Islam, who, in his famous poem “Anandamoyeer Agamane”, celebrated Durga as a force of resistance against British colonial rule. The poem led to his arrest on sedition charges. Such is the influence of Durga and her story on Bengali culture.

In this context, Dhaka Comics’ rendition of the story deserves special praise. There have been relatively few comic books exploring the mythological origins of Durga Puja, and Dhaka Comics’ edition is splendid in its artwork and storytelling. Although short, the 22-page comic captures the story in its entirety. It is refreshing to see Dhaka Comics retain its signature artistic style. While the characters are drawn in a manner that pays tribute to their traditional depictions and remains faithful to the mythology, the illustrations also incorporate a distinctly modern style.

The battle and transformation scenes deserve special mention. The different battles between Mahishasura and the gods, and between Mahishasura and Durga, are vividly depicted. The action unfolds sequentially in a manner that could easily be adapted into a short animated film. The transformation scenes showing Mahishasura changing from a buffalo into an elephant, or assuming a half-buffalo, half-human form, are equally fascinating. The artist handles these sequences excellently, making them particularly captivating for readers.

Considering the long legacy of Durga Puja and its impact on Bengali culture, Dhaka Comics took on an enormous responsibility when it attempted to retell a story that has been revered by Bengalis for centuries in a form in which it is not traditionally told. But the experiment fulfils its promise and makes a successful contribution to the Durga Puja canon. Hopefully, it will inspire more artistic interpretations in the future, from more voices and perspectives.

Sadman Ahmed Siam, as the name suggests, is indeed a sad man. Send him happy quotes at: [email protected].