Manhattan Project in a modern world in which humans live in social chaos and violence . Even more disturbing commentary on imaginings of the future of the Project is a recent graphic novel series called MP : The Manhattan Projects , which explores the mutation and violence generated from the historical Project . Jonathan Hickman writes and Nick Pitarra illustrates the character of Robert Oppenheimer , who has a sociopathic twin brother , Joseph , who eats people and becomes them while continuing to assert his own destructive agenda . At the series beginning , Joseph kills , eats , and morphs into Robert . I find it challenging to view caricatures of my grandfather ’ s face in a publication that markets itself with the words “ Science . Bad .” However , as a twenty-first century consumer of graphic novels and a person who lives in the “ shadow ” of the bomb equally with others , I see the sardonic humor in Hickman and Pitarra ’ s MP ; it is another popular visual iteration of a cultural fascination with the consequences of the historical Manhattan Project .
Alternatively , contemporary children ’ s literature attempts to offer more measured perspectives about the long fallout of the MP . For example , Rebecca L . Johnson explores in her 2014 book Chernobyl ’ s Wild Kingdom : Life in the Dead Zone , scientific enquiry into whether animals of the contaminated Chernobyl district are resilient and thriving , despite being radioactive . Jonathan Fetter-Vorm ’ s 2012 young adult graphic novel Trinity : A Graphic History of the First Atomic Bomb illustrates the process of the building of the atomic bomb in an imagistic , documentary tone that avoids adulation or damnation . Adult literature ranges from scholarly research about the life of the Project and the lives of major figures , such as Oppenheimer , to arguments about the reasons for and ethics of having deployed the two atomic bombs on Japan in the first place . 33