Content area
Comics are increasingly recognized as a flexible and multimodal medium capable of eliciting, constructing, analyzing, and disseminating qualitative data. Far from being merely illustrative or humorous, comics offer complex visualnarrative forms that can reflect and critique social realities, stimulate reflexivity, and engage diverse audiences. This approach highlights the scientific, ethical, and epistemological implications of using comics in research, particularly in relation to representation, positionality, and the visual construction of meaning. Comics can serve as tools for pedagogy, public sociology, and participatory inquiry, especially in areas such as health, gender, and digital cultures. From autoethnography and zine-making to the co-production of illness narratives, comics-based research encourages an inclusive, affective, and visually literate rethinking of qualitative inquiry. By situating comics within broader debates on methodological innovation, this perspective invites scholars to embrace the transformative potential of graphic storytelling in the social sciences.
Comics are increasingly recognized as a flexible and multimodal medium capable of eliciting, constructing, analyzing, and disseminating qualitative data. Far from being merely illustrative or humorous, comics offer complex visualnarrative forms that can reflect and critique social realities, stimulate reflexivity, and engage diverse audiences. This approach highlights the scientific, ethical, and epistemological implications of using comics in research, particularly in relation to representation, positionality, and the visual construction of meaning. Comics can serve as tools for pedagogy, public sociology, and participatory inquiry, especially in areas such as health, gender, and digital cultures. From autoethnography and zine-making to the co-production of illness narratives, comics-based research encourages an inclusive, affective, and visually literate rethinking of qualitative inquiry. By situating comics within broader debates on methodological innovation, this perspective invites scholars to embrace the transformative potential of graphic storytelling in the social sciences.
Keywords: comics; graphic storytelling; comics-based research; ethnographicresearch
Introduction
Researchers are currently beginning to explore the vast potential of using comics in qualitative research, including multimodal and sequential methods of data elicitation, collection, analysis, and dissemination. As far as the methodological standpoint is concerned, comics-based research offers multi-faceted research and communication opportunities by referring to visual and verbal literacy.
The comic strip uses words and pictures in a specific manner, in a sort of sequential arrangement, to convey a narrative or content. It is a much broader medium than a particular artistic, narrative, writing style, or genre (comics do not have to be funny). This versatility encourages opening a myriad of possibilities for leveraging comics in social science research. In addition, comics' wide range of genres, from the graphic essay, to autobiography, to social realism, to pedagogical, or countercultural comics presents vast possibilities for use in formulating research questions.
Echoing debates about the soundness of qualitative methods in general, criticism of the use of image-based methods falls into several categories primarily concerned with the scientific validity of the data collected. Mention is often made of the scientific rigor of the data, their neutrality, reliability, and even transferability from a methodological point of view.
Specifically, we would like to reflect on how graphic tools and comics can facilitate the whole process of qualitative research and the whole path of the researcher: from access to the field, to the construction of the data, from the drafting of the ethnographic diary, to the involvement of the protagonists of the research, from the clarification of the researcher's positioning to, obviously, the storytelling of the research and the dissemination of the research.
Comics Hits the (Social) Scene
Today, comics as a visual art form! occupies a central place in contemporary culture and can be found in diverse formats and a variety of contexts across the world. Different definitions of comics have been proposed over the years. For instance, while Eisner (2008) describes comics as the printed arrangement of art and sequential balloons, focusing on their visual and textual composition, McCloud offers a broader definition, characterizing them as "juxtaposed pictorial and other kinds of images in deliberate sequences that are intended to convey information and/or produce an aesthetic response in the viewer" (1993, p. 9). McCloud's definition emphasizes the deliberate sequencing of images and their role in evoking an intellectual or emotional reaction, extending beyond just the technical arrangement of visual elements. The absence of a universally accepted definition highlights the diverse ways in which comics are interpreted across different languages and cultures. Indeed, as a visual art form the social significance of comics has evolved across different historical periods and for various groups, including authors, publishers, and readers. This variation stems from the fact that comics are not bound by rigid cultural categories. Instead, they offer a flexible medium for examining diverse themes, styles, and forms (Smolderen, 2014). Beyond providing relevant dialogue, the drawings in comics offer insights into the setting, the spatial relationships between characters, their attire, gestures, and expressed emotions (Snyder, 1997).
Although comics have a long and rich history as an art form (Kuttner et al., 2021; Meskin, 2007), when they are adapted for use in fields like social research, certain artistic elements that are central to their traditional form may become less visible or even be omitted altogether. For example, aspects such as visual style, narrative complexity, or creative expression might be simplified or reduced to focus more on the communication of data or research findings (Rainford, 2020). This may be due to the perception that comics are "not a serious issue", which several authors have highlighted as an obstacle to engagement from the scientific community (Kuttner et al., 2021). Additionally, while the use of humour is often seen as valuable in social research (Green & Myers, 2010), it can also give the impression that the research is being trivialized (Darnhofer, 2018). Nonetheless, in society in general there is a growing focus on realism and complex narratives in comics, with a particular emphasis on experimental storytelling forms.
Comics, like other forms of art, are produced within social contexts and can influence public opinion and cultural change. And as such can be understood as an experiential and sociohistorical category (Mickwitz, 2014) that encapsulates subjects in their everyday lives. Comics are a social force (Becker, 1982) because they not only reflect societal values and norms but also actively shape social behavior and perceptions. Over time, this form of storytelling has been embraced by journalism (Polgreen, 2014; Priego, 2016; Wang & Burris, 1994) and medicine (Green, 2015; Moretti et al., 2023; Williams, 2012) and has been well-received by science communication audiences and publishers, particularly as a form of science journalism (Diamond et al., 2012).
Comics-based storytelling has been increasingly recognized in qualitative research as a valuable medium for examining cultural and social dynamics through both visual and narrative forms. The relationship between comics and qualitative research has been explored internationally, with key discussions focusing on the role of comics in representing complex social realities, enhancing participant engagement, and providing alternative forms of knowledge dissemination. These discussions continue to evolve, particularly in relation to the methodological possibilities and limitations of comics, offering new perspectives on their use in contemporary qualitative research.
While Gerde and Foster (2008) acknowledge that comic book creators draw from creativity, folklore, religion, and culture, this observation applies broadly to all forms of narrative. What requires deeper examination is how the comic form specifically engages with the contested nature of qualitative research knowledge production. Comics, like written texts, are embedded within power relations, and their visual nature introduces additional layers of interpretation that may either clarify or obscure qualitative insights. The comic form demands a critical evaluation of how meaning is constructed visually - through choices of imagery, sequencing, and symbolism - and how these elements might influence readers' understanding of the research context. Furthermore, the question arises as to how comics can accommodate or resist challenges to their interpretations, particularly in representing marginalized voices. Comics must be assessed not only on the accuracy of their content but also on the ethical implications of their visual portrayals and the potential for misinterpretation or simplification of complex social realities. Evaluating the quality of ethnographic research in comic form, therefore, requires frameworks that account for both visual and narrative fidelity to participants" experiences, while also being mindful of the medium's limitations in representing multifaceted social dynamics. Just as "face-to-face interaction in general, and conversation in particular, is far from being a matter of words alone" (Goffman, 1981, p. 14), due to their polysemous nature images also "ooze" with meaning. Rather than simply serving as a form of storytelling, comics can contribute to qualitative research by providing a reflexive and interpretive space for knowledge production. However, it is important to recognize the limitations of this medium, as some argue that comics may not always fully convey the intricacies of social realities.
Umberto Eco (1964) was among the first ones to highlight the centrality of comics as a social phenomenon, arguing that illustrative narrative had evolved from the cultural margins to become an important societal element. This perspective was further advanced by Luc Boltanski (1975) in the inaugural issue of Actes de la Recherche en Sciences Sociales. Boltanski examined the cultural legitimacy of French comics in the 1970s, which had achieved commercial success with the likes of Asterix and Obelix and magazines such as Pilote. Boltanski's analysis highlights comics' transition into an object of cultural consumption while maintaining their connections to the fields of art and media, thereby providing the medium and its creators with legitimacy and recognition.
Another leading contribution that has undoubtedly influenced the adoption of comics in qualitative research comes from Lynda Barry, particularly in her book What It Is (Barry, 2008), in which she reflects on the therapeutic use of comics in the process of discovery and reflection. Drawing on her own life experience, she explores "how to observe" and "how to narrate" social situations through comics. Her approach highlights the introspective and reflective capacities of comics, which make them a valuable tool in qualitative research. The use of comics for qualitative research purposes is also reflected in the work of Han (2008), whose comic Missionary experimented with new forms of academic presentation. Han points out that comics are an "accessible medium for readers inside and outside of academia" and argues that they can produce a "provocative blend of intimate self-reflexivity and incisive social criticism" (Han, 2008, p. 58). Han emphasizes that comics should not merely "illustrate the writing" but should "play with successive images and their productive coexistence with words" (Ivi).
Building on the educational potential of comics, Nick Sousanis, author of Unflattening (Sousanis, 2015), has extended the application of comics to the field of education. Sousanis emphasizes the formative and intellectual potential of this medium, advocating for a reevaluation of the importance of the visual aspect of thinking. He argues that words communicate much better when they are skillfully cross-referenced with images, a technique that is intrinsic to the nature of comics and contributes to their narrative and educational effectiveness. Sousanis' work highlights how integrating visual and textual elements can enhance learning and comprehension, which aligns with the innovative use of comics in qualitative research demonstrated by Barry and Han.
Many scholars considered the use of comics in various contexts that had been subject to European colonialism as an important harbinger of nationalism. Abdelwahhab Khatibi's work stands out in this regard. As noted by Lyons (2003) He describes Algerian novels published between the end of the Second World War and the outbreak of the Algerian War in 1954 as "ethnographic novels," works not only tell stories but also document and reflect the cultural, social, and political realities of Algerian life during that period, much like a qualitative study would. Additionally, he pointed out that the graphic novels produced during that time arose "out of an objective situation dominated by the problems of everyday life. In this sense alone the novel is witness to its era; in a period of oppression and in the absence of an independent national press, it can play the role of informant (informateur)" (1968, p. 28). This underscores how graphic novels can portray communities based on shared experiences and collective identities, rather than relying solely on traditional markers like geographic location, language, or customs. While this perspective aligns with established ideas about the cultural situatedness of representation, it highlights the potential of graphic novels to explore these dynamics in a nuanced and accessible way.
The potential of comics as a medium for social critique is also evident in Louise Ahrens' "The Real Cost of Prisons" (Ahrens, 2008), in which she offers a radical and visual critique of the U.S. prison system, incorporating statistics and empirical field research into her examination of the causes and consequences of mass incarceration. Her approach combines drawings and simple language to present complex ideas and concepts, making the critique accessible to a broad audience (Ibidem).
Further expanding the scope of comics in academic research, Charles and Jones (2023), in "Speaking the Unspeakable: An Autoethnography Exploring Unintended Sexism in Important Personal Relationships," discuss the relationship between autoethnography and comics. They highlight how the comics medium can offer an alternative approach to representing researchers' experiences, allowing for a more visual and nuanced portrayal of emotions and personal narratives that may complement, rather than surpass, the intimacy conveyed by written text. Their research focuses on comics that represent feminist researchers' responses to the unintended sexism of male allies, using a feminist autoethnographic method to document and analyze interpersonal conflicts. By employing vignettes, they illustrate how comics can be a powerful tool for exploring and conveying nuanced social issues such as unintended sexism.
Conclusion
This Special Issue aims to stimulate theoretical and empirical reflections on how comics can be incorporated within qualitative research and add extra value, but this does not diminish the verbal component of the narrative. In other words, it is often encouraged to place a visual component alongside a qualitative interview to explore complex themes and bring out a dialogue between the different modes of communication.
While diverse in their disciplinary affiliations and thematic focuses, the articles share a commitment to critical reflexivity, participatory methodologies, and the creative reimagining of knowledge production through graphic and visual narratives.
Several contributions engage with comics-based research (CBR) as a pedagogical and investigatory tool. The article by Sicurella and Tuzza explores the use of student-produced comics to deconstruct stereotypes about criminality and mafia cultures, revealing the interplay between media representations, visual imagination, and cultural narratives. Similarly, Scavarda and Griining investigate how comics foster reflexivity and allow for the embodiment of social experiences, especially in the field of health sociology, through the pictorial representation of illness and neurodivergence.
A second set of contributions delves into the ethical and affective dimensions of participatory visual research. Moretti, Plava, and Ratti reflect on the creation of a comics-based project about pancreatic illness, addressing the emotional, ethical, and epistemological implications of co-producing graphic narratives with patients. These themes resonate with the article by Reschiglian and Scarcelli, who present zine-making as a situated research brave space for queer participants, proposing an ethics of care that centers vulnerability, multimodality, and agency in researching digital intimacies.
Other contributions emphasize visual storytelling as a vehicle for public sociology and social justice, extending the potential of comics and images to engage with broader audiences and challenge hegemonic narratives. Abbatecola and Popolla propose a critical genealogy of visual and creative methods in Italian sociology, tracing the marginalization and resurgence of visual epistemologies and discussing comics in dialogue with photography as tools for counterhegemonic representation. Stetz, through her work on the Violence Against Women Art Map, highlights the transnational potential of narrative artworks and comics in addressing taboo topics and enabling survivor-centered knowledge production in digital public spheres. In doing so, this special issue invites readers to reconsider the boundaries of social research and to embrace the transformative potential of visual and graphic inquiry.
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1. As pointed out by Hilary Chute (2017) the word comics is used as a singular noun when referring to the medium itself (e.g. "comics is a visual art form") but becomes plural when referring to works collectively (e.g. "comics are popular reading material").
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