On the other and the graphic novel - Sheren Falah Saab in Haaretz:

‘Egyptian comics creator Magdy El-Shafee is considered a graphic novel pioneer in the Arab world, rising to prominence thanks to "Metro," a graphic novel published in 2008, which reflects the situation in Cairo at the beginning of the 21st century.
The plot follows a father, a young programmer frustrated by the economic and political situation. After he robs a bank, he flees into the Cairo subway system, which becomes a setting for grim observation of social anger, corruption and the younger generation's existential distress. The dynamic and rhythmic illustrations in a black-and-white style take their inspiration from dark films and correspond with the Western comic tradition.
Shortly after "Metro" was published, the Egyptian authorities banned the book, citing that it "harms public morals" and "contains false information." El-Shafee was tried and fined, and all of the copies of the book were confiscated from stores in Egypt. That censorship turned "Metro" into the first Arab graphic novel to gain international prominence, and it was translated into several languages, including English and French.’

(…)

‘"The security man asked me whether I had visited Ramallah or was acquainted with the author. But then he also asked, and I think he really didn't understand, 'Why are you, as a researcher of Israeli literature, interested in Palestinian literature?' This only brought into focus a sense I had that it's important that this book and others arrive in Israel with me and become part of my lectures and classes."
She stresses that "In comic books, one can show very difficult subject matters, such as famine, genocide and sexual assault, but it's different than seeing things directly on video or in still photographs. Something about comics makes it more distant, perhaps sometimes softer, allowing people to contain the pain."
Sabaaneh's book is a prime example of this, as Schory explains. "Few people, in Israel or abroad, dare to look directly at what has been happening in jails in Israel and the territories. It's a terrible reality, very hard to look at, but it's so important that we know. Once the experience is also aesthetic and indirect, with the illustrations all very impressive linoleum engravings, it's possible to look straight at it, even to identify with someone other than oneself."’

(…)

‘Why are you interested mainly in graphic novels from the Palestinian arena? "I feel it's closest to me, and I'm also interested in how we appear to Palestinian creators. Israelis, especially in the form of the Israeli military, are in almost every book.
This is, of course, true for Sabaaneh, but also for Abdelrazaq when she recounts her family's Nakbah story – her family was expelled from the village of Safsaf to refugee camps in Lebanon. When she illustrates her family, their faces are drawn in loving, detailed lines. The Israeli soldiers, by contrast, will always be a black armed silhouette with a wide evil grin."’

Read the article here.

How the others see us, that’s what everybody should be interested in.

Then also, you will know more about ‘harming public morals’.