This study examines the role of gakushū manga, or educational Japanese comics, in shaping collective memory narratives of World War II. It explores whether these works diverge from or perpetuate Japan-centric interpretations of World War II by analysing thematic trends, representational strategies, and selective memory frameworks. The findings reveal a dominant emphasis on Japanese victimhood, mainly through graphic depictions of civilian suffering, while representations of foreign victims, such as Chinese and Korean civilians, remain abstract or marginalised. The responsibility of those in positions of leadership is selectively portrayed, often exonerating figures like Emperor Hirohito, and the actions of such militaristic leaders are contextualised within broader systemic ideologies.

These manga replicate postwar narratives by foregrounding societal complicity, deliberate omission, and the delegation of the ‘Other’ to the periphery, in line with broader patterns of media-driven nationalism. They provide nuanced critiques of Japan’s wartime conduct but simultaneously maintain a selective focus that minimises Japan’s responsibilities as an aggressor. This research underscores the need for a balanced collective memory to foster reconciliation and a more inclusive understanding of wartime legacies in East Asia.

There is today a growing variety of types of memory mediations that often go further than memorialisation and heritage-building. Comics are undoubtedly part of this movement as their verbal-visual storytelling form tends to prompt layered responses from reader-viewers. Reader-viewers find themselves surprised, moved, and transformed by that reading experience. In this article, we take as a case study a comic page laying out the impact of agriculture’s industrial organisation in France shared by Les Soulèvements de la Terre (The Earth Uprisings) and its sister organisation, the Bassines Non Merci collective. It is a good example to address our central questions of how multimodal languages such as this one-page comic facilitate the process of transformative learning and how such multimodal forms allow one to move from memory-making, crystallising a specific event, to an amplification of engagement that leads to collective action. In short, it allows us to study the specific mechanisms and affordances that multimodal modes of communication, such as comics, possess as tools for transformative learning. In the first section of the article, we investigate the different types of relational engagement that can lead to transformative learning in comics. The second section focusses more specifically on emotions and their role in transformative learning. Finally, we look at the specific comics mechanisms that support transformative learning. Specifically, we look at how comics create a disjunction, give meaning to that disjunction, and help reader-viewers practise real or imaginary resolution that impact identity formation.

While LGBTQIA+ identities are already mostly invisible in the Italian education system, the current anti-gender policies proposed by right-wing and far-right politicians risk further hindering an inclusive education. However, recent Italian graphic novels pave the way for a multifaceted representation of the LGBTQIA+ community and an alternative form of education. For instance, Nicoz Balboa’s Play with Fire (2020) and Alec Trenta’s Barba (2022) are two autofictional graphic novels that depict the authors’ discovery of their trans identity and their experiences in the cis-heteronormative society. The article argues that the two works by Balboa and Trenta are not just examples of autofiction but also constitute an archive of memory and activism. First, the article traces the damaging effects of a lack of education around LGBTQIA+ themes. Then, it explores how Balboa and Trenta understand their lives by reading LGBTQIA+ stories and histories. Crucially, the article investigates how both authors become a point of reference themselves by representing their own bodies and including explanations about gender and sexuality topics. Documenting the way Balboa and Trenta build a counter-educational space in their graphic novels and chart a literary queer and trans genealogy, the article ultimately suggests that their works are a form of activist practice.

This article adopts an integrated practice-led and practice-based methodology, framed through an essayistic approach to comics-based research, using our own artistic practices, one from Serbia and one from India, as case studies. Through works addressing the fall of democratic values, memories of conflicts, rise of nationalism, and ecological devastation, we examine how urgency shapes creation, reflection, and the mediation of memory in comics-making. Rather than a reactionary impulse, we conceptualize urgency as a relational and iterative condition that unfolds through political-ethical, epistemic, and aesthetic dimensions, and one that structures how artists act, think, and draw in response to crises. In our practices, drawing functions as both an act of remembering and a form of thinking: essayistic comics-making materializes a dialogue between immediacy and reflection, as well as between lived experience and its critical rearticulation. We argue that through this interplay, comics-making becomes a mode of situated knowledge production, where memory, testimony, and critique are interwoven. The essayistic form enables urgency to be inhabited rather than merely depicted, turning the creative process itself into a reflective space of resistance and inquiry. By tracing how these dynamics operate within specific socio-political contexts, this paper expands the understanding of comics-making as a medium of embodied memory and a method of research that translates lived urgency into thought and form.

Central to drawn representations of activism and memory are ideas of embodiment and trace. From DIY protest signs to craftivism, the articulation of protest and memory is connected to the handmade trace of a witnessing individual present in time and place. This is reflected in comics scholarship through the notion of the drawn line conveying subjective experience through the trace of the body.

This article will consider the relationship between witnessing, truth claims, autographic drawing, and memory at a moment when AI image-generation tools have called into question the connection of drawn traces to their origin in time, space, materiality, and the body.

Although a combination of critical AI theory and comics studies, this article will outline ways in which generative AI presents a challenge to these ideas. Through comparison of Joe Sacco’s graphic reportage with recent AI images of conflict and history, the article considers the truth claims of images that are the products of computational and algorithmic processes considered broadly.

Comics scholarship has been slow to critically respond to these new conditions, and the task of disentangling the human/non-human in ontologies of trace is now compounded by generative drawings, which represent the outcome of archival reappropriation defined by opaque algorithmic parameters. This article will explore theoretical assumptions around authenticity and truth claims in analogue, computational, algorithmic, and generative drawing practice and ask what kinds of theory and practice are appropriate if activist graphic memoir is to endure as documents of political memory.

In this article, we identify the comics of the Real Cost of Prisons Project as graphic memory work that denaturalises ‘penal common sense’ and engages in graphic witnessing. To show how the United States’ ‘crime problem’ established a seemingly natural link between crime and incarceration, we first review the criminological aspects of American comics memory. Then, we demonstrate how The Real Cost of Prisons Comix reworks the historical and social dynamics of the American carceral regime through its abolitionist framework. We discuss the importance of the image–text form for abolitionist pedagogy by reflecting on the position of comics in carceral textual cultures and the use of these comics in activist education. Finally, we emphasise that the comics created by the Real Cost of Prisons Project should be understood as pedagogical tools in a broader abolitionist movement whereby the historical and social education initiated by memory work aims to ignite collaborative praxis. In this sense, we show that their activist memory work is a means to demystify the historical processes of carceral expansion, enabling its audience to develop historical consciousness.

Rotterdam, a city in the Netherlands, experienced significant bombing in its city centre during the Second World War. Despite the trauma associated with this event, in 1948, the city adopted a new motto: ‘Sterker Door Strijd’, translating as ‘Stronger Through Struggle’. This motto remains visible today under the city’s coat of arms, symbolising the resilience and strength of its inhabitants as they rebuilt their city. ‘Sterker Door Strijd’ has become a central aspect of Rotterdam’s development, particularly in its architecture and urban planning. It showcases a shift in the city’s memory from pain to pride and hope for the future. The motto beautifully embodies Rigney’s ‘memory–activism nexus’ from a spatial perspective, reconstructing the city’s traumatic memory of destruction into a narrative of resistance. The motto is widely known and felt by every Rotterdammer, including foreigners who live and work in the city, like me. The visual essay ‘From Struggle to Strength’ poetically focuses on the city of Rotterdam and its motto. It intimately follows my personal artistic journey and my embodiment in the city. The story unfolds as I walk and draw around the city. Additionally, I interviewed inhabitants focusing on the challenges of social housing issues in the city, such as displacement and demolition and considering how the residents are actively resisting these issues. Through these interactions, the visual essay reflects on the transformative power of memory and activism in shaping the city’s past, present and future.

This article examines the short-lived Marvel comic Misty (1985–1986), created by feminist cartoonist Trina Robbins, as a case study in how comics can invite and depend on reader participation. We draw on an archival collection of over 1,000 fan letters and fashion designs submitted to Misty, along with recent communications with former readers, to explore how children and young adults influenced both the published comic and its surrounding culture. We argue that readers’ contributions – ranging from clothing designs to story ideas – constituted a form of activism: they challenged corporate publishing practices, promoted new story directions, and built local fan communities. Highlighting the recent memories of Misty’s reader contributors, we show how engaging in the comic’s participatory culture could, in turn, have lasting effects on readers, shaping their confidence, career paths, and creative philosophies. By reframing Misty’s collective participatory culture as activism and placing it in conversation with readers’ personal memories, this study contributes to scholarship on comics, fandom, and memory: even small acts of reader engagement can transform both cultural texts and individual lives.