In the evolving landscape of Indian graphic novels, Debasmita Dasgupta stands out as a visionary storyteller, weaving narratives that blend artistry with social commentary. Her 2023 graphic novel, Terminal 3: A Graphic Novel Set in Kashmir, published by Penguin Random House India, is a poignant exploration of hope amid conflict, centered on a young Kashmiri girl’s jiu-jitsu dreams. Set against the tumultuous backdrop of Kashmir in August 2019, when the abrogation of Article 370 plunged the Valley into a communication blackout, the novel follows 17-year-old Khwab Nazir as she navigates personal and societal challenges to represent India at an international tournament. Dasgupta, a Kolkata-born, UK-based graphic novelist, illustrator, and filmmaker, brings her global perspective and art-for-change ethos to this work, making it a significant contribution to young adult literature and Kashmiri narratives. This article traces Dasgupta’s creative journey, the making of Terminal 3, and its cultural and emotional resonance.
The Author: Debasmita Dasgupta’s Creative Odyssey
Debasmita Dasgupta’s path to becoming an internationally acclaimed graphic novelist is one of risk, resilience, and relentless creativity. Born in Kolkata, she initially pursued a self-taught career in illustration, navigating the uncharted waters of children’s visual storytelling in India during the early 2010s, a time when role models were scarce. “It was a very lonely journey,” she shared in an interview, highlighting the challenge of explaining her aspirations to others. Her persistence paid off, leading to a Diploma in Comic Arts from the California College of the Arts and a 2023 Master’s degree in Children’s Book Illustration & Graphic Novels at Middlesex University, London.
Dasgupta’s career spans over 15 years, with over 20 picture books, comics, and poems published by Penguin Random House, HarperCollins, Scholastic, and Barefoot Books. Her debut graphic novel, Nadya (Scholastic India, 2019), about a teenager coping with her parents’ divorce, earned critical acclaim for its “stunning artwork” and “poetry of form”. Nominated for the Kirkus Best Prize, it showcased her ability to capture adolescent emotions. Her picture book Mina vs. the Monsoon (Yali Books, 2018) was also Kirkus-nominated, cementing her reputation as a versatile illustrator.
Beyond books, Dasgupta is a filmmaker and co-founder of FilmsPositive, a Singapore-based media company. She has produced award-winning short films, documentaries for the United Nations and European Commission, and the 2021 feature film Before Life After Death, acquired by Netflix Asia Pacific. Her animated illustrations have graced the Raindance Film Festival in London and Toronto. As an art-for-change advocate, she launched My Father Illustrations in 2013, a Facebook project sharing nearly 350 stories of fathers defending their daughters’ rights across 54 countries. This initiative inspired Terminal 3, sparked by the story of Kashmiri kickboxer Tajamul Islam and her supportive father.
Now based in the UK after a decade in Singapore, Dasgupta mentors emerging Asian creators through Picture Book Matters and free Instagram sessions (@debasmitadasgupta). Her awards include the 2015 National Arts Strategies Creative Fellowship (USA) and a Royal Society of Arts Fellowship (UK). Her inclusive, culturally rich narratives reflect her global experiences, making her a trailblazer in Indian graphic storytelling.
The Genesis of Terminal 3
Terminal 3 emerged from Dasgupta’s desire to tell a Kashmiri story that transcends the Valley’s association with violence, focusing instead on the dreams of its people. The idea germinated in 2013 through her My Father Illustrations project, inspired by Tajamul Islam, a young Kashmiri kickboxer supported by her father. Over a decade, this seed grew into the story of Khwab Nazir, a 17-year-old jiu-jitsu athlete. Dasgupta chose jiu-jitsu for its symbolic resonance—emphasizing mind over physicality, mirroring Khwab’s mental resilience amid Kashmir’s challenges. Though not based on real Kashmiri jiu-jitsu athletes, the sport was informed by her research into martial arts in the Valley.
As a non-Kashmiri, Dasgupta approached the project with humility, aware of the “own voices” movement advocating for marginalized communities to tell their stories. “I wanted to spend a lot of time doing my research and understanding the kind of story that I would tell and what my standpoint would be,” she told The Federal. Her year-long research included sourcing photographs, conducting in-depth interviews, and watching videos of women in martial arts. Her development sector background informed her focus on “concrete actions,” such as crowdfunding, which funds Khwab’s tournament trip through the Azaad Khwab campaign.
The novel’s setting—August 2019, during the Article 370 abrogation—was deliberate, capturing the communication blackout’s impact. Dasgupta’s personal connection to Kashmir, from childhood visits with her father, added emotional depth, though she crafted Khwab as a universal teenager with relatable vulnerabilities. The story’s nonlinear timeline (2017–2019) weaves Khwab’s reflections at Delhi’s Terminal 3 with her past, including her friend Noor’s blindness from a stone-pelting incident and societal pressures to prioritize marriage over sports.
The Narrative and Art of Terminal 3
Terminal 3 follows Khwab Nazir, aptly named “dream” in Urdu, as she waits at New Delhi’s Terminal 3 in August 2019, nervous about her international jiu-jitsu tournament in San Francisco. The 110-page graphic novel, aimed at readers 13+, unfolds through flashbacks to her life in Srinagar, where she faces Kashmir’s conflict, gendered expectations, and personal grief. Supported by her parents, coach, and friends, Khwab channels her pain into sports, raising funds via crowdfunding after her family’s financial struggles. The story doesn’t shy away from Kashmir’s harsh realities—Khwab notes, “The moment we are born in the Valley, your destiny is set”—yet it emphasizes hope, culminating in her flight as a symbol of soaring dreams.
Dasgupta’s illustrations are a highlight, blending hand-painted textures with digital integration. Inspired by Jamini Roy’s bold-eyed figures, her characters have expressive faces, while Kashmiri textiles like Pashmina shawls add authenticity. The bright pink palette defies the grim greys typically associated with Kashmir, reflecting the Valley’s beauty and Khwab’s optimism. Her filmmaking background informs the cinematic, frame-to-frame style, creating a storyboard-like flow. Reviewers praise the “gorgeous” art and “evocative” imagery, though some note the ending feels abrupt.
The novel addresses complex themes—conflict, loss, gender roles, and resilience—making it more suited for older teens and adults, as some Amazon.in reviews suggest. It joins other Kashmiri graphic novels like Kashmir Pending (2007) and Munnu: A Boy from Kashmir (2015), but stands out for its focus on a female athlete and sports as a lens for hope.
Reception and Cultural Impact
Terminal 3 has been widely praised for its fresh perspective on Kashmir, earning positive reviews in Hindustan Times, The Week, Homegrown, and The South First. Hindustan Times calls it “a sharply drawn graphic novel” showing how young Kashmiris excel despite challenges. The Week lauds its “impactful” simplicity and vivid illustrations. A blogger at The Whimsy Bookworm highlights its “depth and heart,” appreciating its honesty about Kashmir’s grim realities and the warmth of Khwab’s support system. Amazon.in reviews give it 3.0/5, with comments like “Nicely done book. Nice to have Indian artists doing good graphic novels”, though some critique the ending and note its complexity for younger readers.
The novel’s cultural significance lies in its portrayal of Kashmir beyond violence, focusing on the dreams of ordinary people, particularly women. Dedicated to “the fearless spirit of sportswomen from Kashmir,” it mirrors the challenges faced by female athletes in India, especially in conflict zones. Dasgupta’s research and outsider perspective add authenticity while avoiding stereotypes, aligning with India’s growing graphic novel scene, where creators like Orijit Sen and Malik Sajad explore socio-political themes. Its global reach, available on Amazon UK, Australia, and Spain, reflects Dasgupta’s international appeal.
Dasgupta’s Broader Impact and Future Projects
Dasgupta’s work extends beyond Terminal 3. Her ArtsPositive initiative supports art-for-change creators, with campaigns like More Than Skin Deep, amplifying acid attack survivors’ voices. She mentors Asian artists, fostering inclusivity in visual storytelling. Her next graphic novel, about Faiza, a boxer from Himachal Pradesh, continues her focus on women in conflict zones, emphasizing universal human dreams. Her advocacy for diverse narratives—“I can’t restrict myself to telling stories about Bengali women”—positions her as a global storyteller.
In India, where graphic novels are gaining traction, Terminal 3 contributes to a narrative shift, highlighting marginalized voices and female resilience. It complements works by Indian authors like Sonia Mehta, whose Dealing with Feelings series addresses emotional literacy, or Zarna Garg, whose memoir This American Woman celebrates immigrant dreams, showing the diversity of Indian storytelling.
Debasmita Dasgupta’s Terminal 3 is a masterful blend of art, emotion, and social insight, capturing the dreams of a Kashmiri girl against the backdrop of conflict. Through Khwab Nazir’s journey, Dasgupta challenges stereotypes, offering a hopeful, humanized portrait of Kashmir. Her own journey—from a self-taught illustrator in Kolkata to a Kirkus-nominated creator in London—mirrors Khwab’s resilience, marked by risk and reinvention. With its cinematic illustrations, authentic research, and universal themes, Terminal 3 is a landmark in Indian graphic novels, inspiring readers to see Kashmir’s people, not just its struggles. As Dasgupta continues to mentor creators and tell stories of changemakers, her work reminds us that dreams, like Khwab’s, can soar even in the toughest terrains.
