One distinctive feature of The Wasp was its use of color lithography. Korbel’s and Keller’s experience and expertise in color lithographs of cigar box labels and Korbel’s investment in its own printing equipment gave The Wasp instant appeal. An example of effective use in color can be found in What Shall We Do With Our Boys, March 3, 1882.
Clearly fixated on the labor issue the cartoon incorporates two of West’ six themes favored by The Wasp: the Chinese as a ruthless competitors and subversive labor monsters.
The frame is divided, two thirds occupied and dominated by an eleven-handed Chinese worker-monster. “The Chinese were depicted as “many handed” or monstrous creatures depriving white labors of their jobs” (Choy 84). Keller’s uber-octopus like Chinese laborer is seen going to town, a busy industrial whirlwind of labor productivity. He is unstoppable in the trades and crafts most attributed to Chinese workers; shoemaker, tailor, cigar maker and laundryman lay as testimony of his industriousness. Collectively, his array of hands hold a saw, mallet, hammer, and brush. Most dangerous of all, he is succeeding. Two hands are busy socking away a substantial bag of money and assures the satchel it is carted off in a rickshaw to export “For China.” “Chinese Trade Monopoly” is secured in place with his foot. The image emphasizes the prevailing anti-Chinese view that the Chinese aren’t like other immigrants. They are instead “sojourners” whose only wish is to make money in America to send back to their families in China. The cartoon does not reference the fact that the Chinese were legally restricted from becoming naturalized citizens.
In the event the viewer does not fully appreciate the implications of this Chinese monster, the remaining third of the screen, clean shaven, non-threatening white boys collect with nothing to do, loitering outside. These are not angry Irish boys. They are victims of the Chinese menace. These young men are well dressed, with jackets and hats and bear pensive expressions – chins resting on their hands. One young man leans on lamppost with an American Eagle on top, and another leans against the side of the one-man Chinese factory. Without a future, they are, as the caption points out “our boys.” A police officer leads one of the loiterers away to one of three structures in the distance. What path lies in the boy’s future? What fate? Institutions the distance provides the grim answer, “San Quentin,” “Industrial School,” or “House of Correction.” The message is clear. The Chinese labor problem erodes an opportunity for wholesome, American boys to obtain honest work. They cannot compete with the whirlwind of cheap, Chinese labor. Inside, the Chinese phenomenon could care less. Keller imbues him with a gleeful, sinister expression as he monopolizes and spins profits.
The Chinese worker’s face is grotesquely distorted. His eyes are deeply slanted, his crooked smile missing several teeth, digs crevices that form a malevolent expression. His queue rises in mid-air, curled like a whip, propelled by the frenzy of his windmill-like hands.