CfP: 2nd International CLOSURE-Conference, “Tropes of Comics and Manga”
Closure #12 published!
It is with great pleasure that we present the twelfth issue of CLOSURE Kieler Journal for Comics Research.
With the theme »Queer Comics,« we explore queer representation across comic cultures – from queer characters, forms, and narratives to intersectional identities and the unique visual possibilities the medium offers for representing gender and sexuality (with contributions by, among others, Marina Rauchenbacher and Janek Scholz).
Enjoy reading – here’s the link to the issue:
https://www.closure.uni-kiel.de/start_en
For our cover, we thank Noelle Kroeger from Hamburg!
From the Introduction:
“The visual language of comics offers unique possibilities for representing gender and sexuality visually. Colors, shapes, and styles can be employed to depict genderfluid or non-binary characters and their experiences. Medium-specific gaps resist fixed and normative determination. At the formal level alone, comics artists can experimentally rearrange the sequencing of panels, signs, and storylines to create non-linear narrative structures that reflect diverse identities in queer narratives. While we close the gaps between panels as we read comics, these gaps remain decisively visible and present—a refusal of continuity that queer comics have taken up in order to suggest »queer temporalities« (Halberstam) outside normative conceptions of time.
Comics demand that readers actively participate in interpretation, as they must not only follow the plot but also interpret the visual information. This interactivity enables queer stories to be more subversive by using visual allusions or symbolic representations that can only be grasped through active engagement with the comic. »Phenomenology is, after all, full of queer moments, moments of disorientation« (Ahmed). Starting from this insight, the question arises: How does the media phenomenology of comics disrupt and transform our perception and interpretation of identities and relationships?
Whereas it was initially the gay community that was represented from the 1950s onward in publications by independent or self-publishers, the scene expanded through events including the Stonewall riots of 1969 (Hall 2012). Queer themes found expression in underground comix. A community of alternative lifestyles created a space in which gender roles and sexuality were questioned. Artists such as Howard Cruse (1944–2019), editor of the anthology Gay Comix, brought explicitly queer stories into focus and created space for LGBTQ+ narratives that were still taboo in mainstream comics.
Since the 2000s, webcomics and independent publishers have contributed significantly to bringing an even broader diversity of queer identities, gender roles, and stories into the world of comics. These stories are not just about showing queer characters but about establishing them as fully realized characters who take center stage and whose identity is not merely a side note. Narratives about the queer experience appeared early in the field of graphic medicine, both in activist and utoabiographical form and for targeted health education (such as Marbles by Ellen Forney 2012, Taking Turns by MK Czerwiec 2014, or Pregnant Butch by A.K. Summers 2014). In the mainstream, queer characters became increasingly visible from the late twentieth century onward, though often only as supporting characters or in metaphorical contexts. But this too is changing. One example is The Young Avengers, whose characters Wiccan, Hulkling, and America Chavez have been among Marvel‘s first prominent LGBTQ+ characters since their introduction to the universe in 2005. These comics challenge both social norms and comics conventions by making queerness visible on the page. Understanding their impact requires examining the works and the communities that surround them.
CLOSURE #12 gathers contributions that explore queer representation across different comics cultures, investigating intersections with queer characters, forms, and narratives.”
New Lianhuanhua-Translation Project by ChinaComx
As part of the current ERC project on Chinese comics culture (“ChinaComx: Comics Culture in the People’s Republic of China”), our colleagues Lena Henningsen, Damian Mandzunowski, and the ChinaComx team in Heidelberg are translating Chinese comics into English (primarily) and also into other European languages (currently one series into German). They have now translated 14 works – and more are to come!
Announcement:
New Lianhuanhua Translations by ChinaComx
In the last year, the ChinaComx project has added numerous new translations to our website. Ranging from book-length standalone stories to one-pagers found in magazines, all translations are available free and openly on the website https://chinacomx.github.io/translations/.
Each translation comes with high-resolution scanned images, the transcribed text in original, and its translation next to each other. Each lianhuanhua is also introduced in an approachable but scholarly way by the translator(s).
We are happy to hear back from people who are using the translations in class or other ways — and tell us what stories you would like to read in translation next!
Here is a detailed overview of the translations as of March 2026 with direct links:
As of today, we have published fourteen ChinaComx translations of various types of lianhuanhua; these can be grouped into five thematic categories (but note that some stories may equally well fit in two categories or more):
- Works adapted from classics of Chinese literature:
- The New Year’s Sacrifice 祝福 (1974) is a lianhuanhua adaptation of Lu Xun’s famous critique of tradition and feudalism: read the English translation here;
- Geschichten über Lu Xun und Junge Leute 鲁迅和青年的故事 (1976) is a collection of three poignant short stories by Lu Xun: read the German translation here;
- A Pair of Tweezers 一把镊子 (1981) is a one-paged lianhuanhua strip adaptation of an equally short story about Lu Xun: read the English translation here;
- Nezha Wreaks Havoc in the East Sea 哪吒闹东海 (1985) is part three of a fifteen-part 1980s lianhuanhua adaptaion of the famous legend: read the English translation here;
- Tales of youth and socialist-patriotic ideals:
- Lei Feng’s Youth Years 雷锋的少年时代 (1973) provides a biographicallook at the early years of the socialist icon Lei Feng:read the English translation here;
- Niqiu Protects the Watermelons 泥鳅看瓜 (1974) is a wartimeadventure showcasing the bravery of children: read the Englishtranslation here;
- By the Yang River 洋河边上 (1974) adapts a coming-of-age short story by Hao Ran about an elementary school pupil whose mundane actions are framed as meaningful acts of ideological practice: read the English translation here;
- The Silent Fight 无声的战斗 (1976) is a story of espionage and counterespionage in the early-PRC told from the perspective of a young boy: read the English translation here;
- Are You a Communist? 你是共产党员吗 (1981) is piece of allegoricalscar literature lianhuanhua that raises an existential inquiry into what it meant to be a CCP member in 1981: read the English translation here;
- Science popularization lianhuanhua:
- Mermaid 人鱼 (1982) is an early-Reform Era lianhuanhua strip that both celebrates patriotic science and invites to venture beyond what is known: read the English translation here;
- Transcultural texts and storylines:
- Norman Bethune 白求恩 (1973) and Doctor Bethune 白求恩大夫(1979) are two lianhuanhua adaptations of biographical tales about Norman Bethune: read the English translation here.
- The Watch 表 (1980) is a beloved Soviet children’s story adapted into lianhuanhua for a Chinese audience: read the English translation here;
- My Uncle Jules 我的叔叔于勒 (1980) is a lianhuanhua strip adapting a short story by Guy de Maupassant that probably every schoolchild in China was made to read in class: read the English translation here
- Contemporary lianhuanhua:
- The Legend of Bing Conglin 冰聪林传奇 (2024) is an ongoingcontemporary lianhuanhua serialised on Xiaohongshu 小红书 by a young fan: read the English translation here.
(Deutsch) Ausstellung SHEROES. Comic Art from Africa
Sorry, this entry is only available in Deutsch.
Monitor 81: New Publications on Comic Books
Monitor is an irregularly published overview of publications from the previous six months that may be of relevance to comics studies scholars. The introductory texts are the respective publishers’. Do you have suggestions or information on new releases that have been overlooked and should be introduced on our website? Please let us know via email: redaktion@comicgesellschaft.de.
→ See previous Monitor posts.
Lynda Barry: A Critical Guide
Bloomsbury Comics Studies
Maaheen Ahmed
Bloomsbury Academic
February 2026
Publisher’s Website
“A complete introduction to the comics and graphic narratives of Lynda Barry, this book maps the historical and biographical contexts, key texts, the critical themes and debates surrounding her publications and the lasting impact of her work on the comics medium. With a distinctive body of work that unfolded during key moments in comics history from the much touted and criticized ‘coming-of-age’ of comics to the rise of underground and alternative comics and the establishment of graphic novels, Barry’s comics reflect the changing status of comics, while unpacking the very constituents of the medium and testing its limits.”
Team Up: How Collaboration Powers Superhero Comics
Marie Sartain
UP of Mississippi
February 2026
Publisher’s Website
“As superhero comics have become increasingly mainstream, so too has the attention given to the creators behind them. Yet, while it is widely known that the majority of superhero comics are produced through collaborative efforts, the ways these partnerships shape creation and reception of such works remain largely unexplored.
Team Up: How Collaboration Powers Superhero Comics addresses this gap as the first book to examine the crucial role collaboration plays in the making and the reception of superhero comics by Marvel and DC. It delves into what collaboration in superhero comics entails, how these partnerships function, and their far-reaching impact on the genre and industry, both past and present.
By exploring various forms of collaboration—from the dynamic interplay between writers, editors, and artists to the passing of projects between successive creative teams and the contributions of fans to the broader media landscape—Team Up reveals that collaboration is not just a part of the superhero comics process; it is the genre’s driving force.”
Sinophone Comics: Histories, Identities, Medialities
Comics Studies
Adina Zemanek (Ed.)
De Gruyter
February 2026
Publisher’s Website
“While comics published in twentieth-century China have enjoyed extensive coverage, this volume showcases recent works from other locations in Asia and beyond: Taiwan, Hong Kong, Singapore, Malaysia, Italy and the US. Thus, its Sinophone framing de-centers the hegemony of China in Chinese studies, and that of Japanese manga in comics studies. Non-mangaesque productions take center stage, and a chapter on comics-related cultural exchange with Japan covers reception of Taiwanese comics.
Chapter contributors explore key themes in Sinophone studies: identity-construction and (national or medium-specific) history-writing through positive or negative connections with China as a cultural and political center, contingent on local colonial legacies, nationalist projects and other cultural factors.
At the same time, this volume underscores transnational connections, central to comics throughout this medium’s history, and recent global trends shaping media and cultural production: state support and soft power, the neoliberal emphasis on creativity and self-branding, the rise of digital platforms. Taiwan constitutes a productive site for studying such issues, hence its centrality to this project.”
Strange Fruit and Bitter Roots: Black History in Contemporary Graphic Narrative
Daniel Stein
UP of Mississippi
January 2026
Publisher’s Website
“Since the publication of The Middle Passage: White Ships/Black Cargo by Tom Feelings, more African American creators have used graphic narratives to explore key moments in colonial and US history. These graphic stories address the painful legacies of anti-Black violence and the long history of racial injustice, using the power of comics to both confront the past and offer visions for the future.
From the Middle Passage and slavery to the civil rights movement and today’s fight for Black Lives, these narratives reimagine history and challenge oppressive systems. Through creative artwork and storytelling, they give fresh perspectives on racial violence and racism in US visual culture, developing new visual languages and techniques to express these complex histories.
Strange Fruit and Bitter Roots connects scholarly research on Black history with some of the most impactful African American graphic novels. The book explores works such as King by Ho Che Anderson; The Middle Passage by Tom Feelings; Nat Turner by Kyle Baker; Black Panther by Ta-Nehisi Coates and Nnedi Okorafor; Bitter Root by David Walker, Chuck Brown, and Sanford Greene; Blue Hand Mojo by John Jennings; Wake: The Hidden History of Women-Led Slave Revolts by Rebecca Hall and Hugo Martínez; and many others, bringing a deeper understanding of how graphic narratives can challenge historical narratives and shape conversations about race and identity today.”
Comics is…: Debating the Subject of Comics Studies
Palgrave Studies in Comics and Graphic Novels
Martin Lund
Palgrave Macmillan
January 2026
Publisher’s Website
“Taking the contested and contestable meaning of “comics” as its starting point, Comics is… brings together ten comics scholars from different disciplines and with different approaches to what some of us call comics, to debate and discuss the foundations of Comics Studies in a provocative and thought-provoking way.
The book is built around a three-part structure: each contributor writes a sentence or brief statement, starting from the prompt “Comics is…”; a colleague replies to the statement with a reflection, critique, or application of the statement or the position it advances; and, finally, the author of the statement responds to the reply in a brief essay.
Through its dialogical format, the book is likely to spark new conversations in the field; the statement–response–reply format will illustrate that the ways we think as comics scholars are processual, and any reader will find things they agree and disagree with in its pages – and, more importantly, will find occasion to reevaluate their own thinking.
Furthermore, when taken together, the “Comics is…” statements along with the responses and replies provide a barometer of the state of Comics Studies at present, exemplifying current approaches within the field and some of the thinking behind why some of us do our work in certain ways, while others choose sometimes radically different ones.”
Visual Metaphor and Drawn Narratives: Embodied Cognition and Expression in Comics
Palgrave Studies in Comics and Graphic Novels
John Miers
Palgrave Macmillan
January 2026
Publisher’s Website
“This book contributes to metaphor and comics scholarship by bringing together established theories of metaphor and of depiction and applying the result to the analysis of narrative drawing. Miers synthesizes two strands in recent comics scholarship: the analysis of comics as drawn texts, informed by art history and aesthetic philosophy, and the use of contemporary metaphor theory as a lens to examine how meaning is produced in comics. It aims to enrich and substantiate claims about the metaphorical characteristics of pictorial representations, and develop our understanding of how metaphor use is guided by stylistic features of drawing that are characteristic of the comics form.”
The Materiality of Digital Comics
Palgrave Studies in Comics and Graphic Novels
Ian Hague
Palgrave Macmillan
January 2026
Publisher’s Website
“The Materiality of Digital Comics asks how we can speak meaningfully about digital comics, and how we can do so in a way that remains meaningful as time passes and technology changes. In Part I, the book proposes a model for the study of digital comics that is founded on a material understanding of the form. Across three chapters, the book explores what digital comics are, in physical terms, and how we might structure our understanding of digital comics using six key terms: identifier, file type, software, firmware, hardware, and producers/readers. Each of these elements is explored individually before the relationships between them are discussed. The second part of the book develops this framework across three key areas: economics, histories and geographies. Chapter 5 explores the sales of digital comics and highlights a variety of costs and risks in digital comics that do not apply straightforwardly to print comics. Chapter 6 considers questions of histories as they pertain to digital comics, framing the discussion around four stages in the “life cycle” of a digital comic: creation, maintenance, movement and destruction. Chapter 7 addresses geographies through four topics: localities, nationalities, languages and law. Central to this chapter is the argument that digital comics are physically located things. The book concludes with a discussion of how the model presented here, and the concerns it raises, might be used actively for further scholarship, as well as an outline of other key areas that might be explored through a material analysis of digital comics in future.”
Fantastic Adventures in the Comics: Rockets, Genies, and Bug-Eyed Monsters, 1940s-1980s
William Schoell
McFarland
December 2025
Publisher’s Website
“Science fiction and fantasy comics present colorful if disparate visions of the future, from post-apocalyptic nightmare scenarios and prophetic explorations of technical advances to startling stories of space colonization. This book analyzes the genre from the 1940s to the 1980s, examining works such as tales of virile adventurers and their space “babes” to more thought-provoking stories of the clash of alien cultures and frightening, ironic looks at the results of outer space travel.
This volume scrutinizes the output of publishers such as DC Comics (Strange Adventures and Tales of the Unexpected, etc.); EC comics (Weird Science and Weird Fantasies); Marvel Comics (various series with monsters and grotesque alien creatures); Charlton (numerous fantasy magazines); American Comics Group (Forbidden Worlds and Adventures into the Unknown); as well as comics from Dell, Gold Key, Avon, Fiction House, and many others. ”
The Code of the Superhero: Morality and Citizenship in the Comics
Ryan L. Johnson
McFarland
November 2025
Publisher’s Website
“Since their inception, superheroes in comic books and other media have endeavored to guide the nation’s children and adults. But what have superheroes been teaching, and how has that curriculum changed from generation to generation? This examination of American superhero history investigates the transforming landscape of the so-called Superhero Code. It discusses the history of the costumed crusaders across more than eight decades, then dives into a case study of a comic-book hero and a transmedial adaptation. Over the course of 6 eras and 12 characters, the book explores the responses of each new generation of characters to contemporary political and social concerns as well as the superheroes’ timeless moral messages for readers young and old.”
Rezeptionsprozesse zu erzählenden Comics: Eine rekonstruktive Studie in der Sekundarstufe I
Didaktik der deutschen Sprache und Literatur
Stefanie Granzow
Waxmann Verlag
October 2025
Publisher’s website
“Comics vereinen visuelle, sprachliche und narrative Elemente, sodass die deutschdidaktischen Perspektiven auf den Gegenstand vielfältig sind. Welche konkreten Potenziale das multimodale Medium Comic für literarisches und ästhetisches Lernen birgt, wird von dieser Studie in den Blick gefasst. Es wird untersucht, wie Schüler:innen der Sekundarstufe I an Schulen in Mecklenburg-Vorpommern und Hamburg zwei erzählende Comics lesen, besprechen und deuten. Aus videografisch aufgezeichneten Kleingruppendiskussionen werden unterschiedliche Rezeptionsmodi herausgearbeitet: vom detektivischen Detailblick bis zum intensiven Eintauchen in die Erzählung. Die fachdidaktische Reflexion und praxisnahe Impulse für den Literaturunterricht runden die Untersuchung ab. Die Ergebnisse zeigen, wie die Erzählkraft von Comics literarästhetische Lern- und Bildungsprozesse stimulieren kann – und welche Herausforderungen sie bereithalten.”
The Look of the 1960s: Barbarella and Pulp Pop Comics
World Comics and Graphic Nonfiction
Jan Baetens, Hugo Frey
U of Texas P
October 2025
Publisher’s Website
“As a form of visual art, comic books rely on a distinct and eye-catching aesthetic. This is especially true of the iconic comics, graphic novels, and illustrations of the 1960s and 1970s. The Look of the 1960s explores the sources of inspiration that influenced the world of comics, beginning with the well-known French comics series Barbarella.
Noted comics scholars Jan Baetens and Hugo Frey analyze the impacts of the often-provocative images featured in the comics of the 1960s, which pushed back against French censorship in a politically tense time, and detail how women resisted their objectification in the comic book industry. Barbarella left its mark on the world and gained international attention, inspiring a movie adaptation and changing the look and content of other popular comics. The “Pulp Pop” movement remains relevant today, continuing to influence the art and political world. With new information about artists and an astute analysis of sociopolitical influence, The Look of the 1960s offers deep insights, making it a must read for comics fans all over the world.”
Manga: A New History of Japanese Comics
Eike Exner
Yale UP
August 2025
Publisher’s Website
“The immensely popular art form of manga, or Japanese comics, has made its mark across global pop culture, influencing film, visual art, video games, and more. This book is the first to tell the history of comics in Japan as a single, continuous story, focusing on manga as multipanel cartoons that show stories rather than narrate them. Eike Exner traces these cartoons’ gradual evolution from the 1890s until today, culminating in manga’s explosion in global popularity in the 2000s and the current shift from print periodicals to digital media and smartphone apps.
Over the course of this 130-year history, Exner answers questions about the origins of Japanese comics, the establishment of their distinctive visuals, and how they became such a fundamental part of the Japanese publishing industry, incorporating well-known examples such as Dragon Ball and Sailor Moon, as well as historical manga little known outside of Japan. The book pays special attention to manga’s structural development, examining the roles played not only by star creators but also by editors and major publishers such as Kōdansha that embraced comics as a way of selling magazines to different, often gendered, readerships. This engaging narrative presents extensive new research, making it an essential read for enthusiasts and experts alike.”
CfP Re-envisioning Time Across ImageTexts
CfP for the GSA Comics Studies Network
Workshop “Translating Comics”
Translating Comics: Between Bubbles, Cultures, and Constraints in East Asia
An international hybrid workshop organized by Marie Laureillard (Paris Nanterre) and ComFor-member Jaqueline Berndt (Stockholm) (CRPM & Asie-Sorbonne Association), and assisted by Wenlan Xiang.
Contact: mlaureil@parisnanterre.fr
Held in English in a hybrid format. For online attendance, please preregister with Jaqueline Berndt, indicating your name, affiliation, and field of specialization: jberndt@su.se
As a hybrid form that merges text and image, comics offer a particularly stimulating field of inquiry for translators and translation scholars. This international workshop aims to explore the specific challenges of comics translation by focusing on translations from or into Chinese, Japanese, and Korean (manhua and lianhuanhua, manga, manhwa, and webtoons). It seeks to contribute not only to Translation Studies through comics but also to Comics Studies through translation, with an emphasis on East Asia. While the first day foregrounds the intersection of text and paratext, publication formats and editorial management, the second day addresses broader issues pertaining to multimodal, intermedial, and intercultural adaptation.
PROGRAM
Friday, 10 April 2026
Conference rooms – Max Weber Building, University of Paris Nanterre
(200 avenue de la République, 92000 Nanterre)
9:00 Opening Address
9:10–9:45 Antonio Paoliello-Palermo (Barcelona): Translating Sinophone Comics: The Role of Translators’ Notes in Italian Editions
9:50–10:25 Paula Martínez Sirés (Tokyo): Prefaces, Afterwords, and Cultural Mediation: The Role of Manga Translators in Spain’s Early Manga Reception [ONLINE — JST (+7h)]
10:30–11:05 Martina Caschera (Bergamo): Translating “Chinese comics”: two case studies from the Italian context [ONLINE — CET]
11:10–11:45 Asuka Ozumi (Turin): Making the Translator Visible: Notes and Paratext in Italian Manga Translation
11:50–12:25 Blanche Delaborde (Fukuoka): Translating Gender and Queerness: Around Boys Run The Riot [ONLINE — JST (+7h)]
Short lunch break (via catering in the lobby)
13:10–13:45 Dalma Kálovics (Kyoto): From foreignization to domestication—Korean comics in Japan [ONLINE — KST (+7h)]
13:50–14:25 Bounthavy Suvilay (London): Editorial strategies for material domestication: history of the first manga translations in France (1970–2000) [ONLINE — GMT (-1h)]
14:30–15:05 Giovanni Stigliano Messuti (Tokyo): How did it end up there? Editorial solutions to linguistic and visual extravagance in the collected works of Hanawa Kazuichi (1972–1980) [ONLINE — JST (+7h)]
15:10–15:45 Alba Quintairos-Soliño (Zaragoza): Shaping the Idea of Manga through Translation: The Case of Editorial Decisions in Spain
Saturday, 11 April 2026
Walter Benjamin Room, National Institute of Art History (INHA)
(2 rue Vivienne, 75002 Paris)
9:00–9:35 Yoon-Jung Do (Incheon): A Study on the Translation Patterns of Characters in Images within Graphic Novels: Focusing on Works Translated Between Korea and France [ONLINE — KST (+7h)]
9:40–10:15 Daryna Morhun (Kyiv): Negotiating Word, Image, and Culture: Intermedial Challenges in Manhua Translation
10:20–10:55 Nick Stember (London): Soldiers, Citizens, and Compatriots: Bo Yang’s Contentious Localization of Popeye
11:00–11:35 Yangjie Zhao (Paris): Translating Marginal Women: French Mediation of Rural Chinese Lives in Ma Maman and Le Printemps prochain
11:40–12:15 Inkyeong Chung (Philadelphia/Zürich): Beyond Untranslatability: ‘Che’ (체) as a Linguistic–Visual Register in Korean Comic Translation
Short lunch break
13:00–13:35 Dana Iacob (Cluj-Napoca): Ethics of Translating Darkness: Moral Ambiguity and Translator Responsibility in Dark Fantasy Manga
13:40–14:15 Sangi Yi (Seoul): Translating Voice and Performance in the Korean Webtoon 정년 이 (Jeongnyeon): Constraints and Possibilities in the Japanese Context [ONLINE – KST (+7h)]
14:20–14:55 Olga Bobrowska (Kraków): Adaptation as Ideological Practice. The Case of a Puppet Animated Film Rooster Crows at Midnight (Banye ji jiao, 1964, dir. You Lei)
15:00–15:35 Mariia Guleva (Prague): A featherless bird that flew internationally: a case study of a 1956 manhua and a 1960 diafilm
15:40–16:15 Lena Henningsen (Heidelberg): Adaptation and Transmediation
“Terrain de Je: Comic, Autobiografie und Autofiktion” by Marie Schröer published!
Terrain de Je: Comic, Autobiografie und Autofiktion
Christian A. Bachmann Verlag
2025
318 pages
€ 39,90
ISBN 978-3-96234-097-1
Blurbs:
“Roland Barthes nennt seinen autobiografischen Avatar ein ‘Je de Papier’; der Comicautor Killoffer bezeichnet den Comic als ein ‘Terrain de Jeu’. Wo beides zusammentrifft, entsteht ein ‘Terrain de Je’: ein Raum, in dem Zeichnende mit Identitätskonzepten experimentieren und zugleich intime Selbstbilder inszenieren. Diese Studie verfolgt die Linien von der Autorepräsentation zur Autobiografie und Autofiktion, seziert das Konzept Graphic Novel und denkt den klassischen Bildungsroman neu. Vorgeschlagen wird als Pendant zum autobiografischen ein autofiktionaler Pakt, der die Autofiktion als Lesefigur fasst. Anhand von Close Readings – von Claire Bretécher über Justin Green bis Fabrice Neaud – zeigt sich, wie Comics autobiografische Verfahren aufnehmen, variieren und unterlaufen, ohne sich je vollständig in einem Genre fassen zu lassen.”