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In The Clear Line in Comics and Cinema, Pinho Barros puts forth a thought-provokingcontemplation of the use of ligne claire in various forms of media, with particular emphasis on films

This article seeks to investigate how Ram Devineni and his team’s productions – Priya’s Shakti (2014), Priya’s Mirror (2016), and Priya and the Lost Girls (2019) – break the coveted layers of frames and panels of comics and go beyond them to sensitise the readers on the nuances of gender-based violence in India with the incorporation of augmented reality. Within the fields of comics studies and gender studies, the article also explores how augmented reality in graphic narratives encourages and facilitates its readers in being sensitised to the gender roles and gender-based issues pertinent in South Asian societies. Before the series’ origin as an outcome of the protest against the 2012 Delhi-Rape Case, Devineni locates the diverse nuances of gender-based violence (rape, acid attack, sex trafficking) and addresses them in their comics using Hindu Mythology as a tool

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Haleema Badar and Partha Bhattacharjee discussed with Somesh Kumar on his significant contributions as an illustrator and graphic designer. Recently, he published an online graphic novel called ‘Little by Little,’ where he shares stories from his family and childhood. Somesh Kumar’s graphic novel ‘Little by Little’ is memoir that tells him growing up in different parts of the Indian state of Bihar and his journey of becoming an illustrator and graphic designer. In this series, Kumar also sheds light on his evolving relationship with his father who eventually turns into an alcoholic. Readers can access his graphic novel via the given link: http://www.littlebylittle.online/. This interview was conducted via email. The questions were e-mailed to Somesh Kumar and he typed down his answers in reply to the sent email.

Partha Bhattacharjee, Rounak Gupta, and Priyanka Tripathi will interview Karin Hauser. Karin is a freelance illustrator and graphic designer who illustrated her graphic narrative, Über das Treiben von Knospen.

Within the liaison of decoloniality studies and comics studies, this paper investigates how the decolonial visual style in the comics anthology This Side That Side (Ghosh 2013) has been used to locate the traumatised past and violation of human rights due to the ‘b/ordering’ practices of partition of India . ‘The Taboo’ by Malini Gupta and Dyuti Mittal, ‘An Afterlife’ by Sanjoy Chakraborty, and ‘Making Faces’ by Orijit Sen cultivate the stories of the inhumane condition of the migrants and victims during and after the Indo-Pakistan and Indo-Bangladesh-Pakistan partition. These narratives exemplify decolonised counter comics narratives on collective and personal memories inflicted upon and against the dominant partition discourse. They help churn out the human stories of the interminable psychological violence of partition and post-partitioned reality

Richard McGuire talks about his creative process as a cartoonist and illustrator. With a special emphasis on his books Here and Sequential Drawings, McGuire elaborates on his experiments with the notions of ‘space’ and ‘time’ through graphic narratives.

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Haleema Badar and Partha Bhattacharjee engage in a conversation with Ikroop Sandhu and explore her contributions as an illustrator and visual storyteller. She has contributed to the most prestigious anthologies Pao Collective, This Side, That Side. Her graphic novel on Bhagat Singh, titled Inquilab Zindabad was published in April 2022.

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Within the melange of comics studies, migration studies and autobiography studies, this article investigates the process in which the collective trauma as well as the personal trauma of refugee women has been portrayed through the visual medium in Malini Gupta and Dyuti Mittal’s ‘The Taboo’, Syeda Farhana’s ‘Little Women’ and Maria M. Litwa’s ‘Welcome to Geneva Camp’. These stories focus on the issues faced by women who migrated to Bangladesh from parts of Bengal and Bihar and thereby experienced a crucial, grief stricken life in refugee camps during the Indo–Bangladesh–Pakistan partition. Life in these refugee camps meant not only meagre resources but also a loss of nationality. In the absence of such validation, these migrants faced an extreme sense of identity or existential crisis. The group photographs, family photographs, complex roadmaps and the map of the subcontinent in the aforementioned graphic narratives Delivered by Intellect to: are merged to serve as the ‘narreme’, the base of narratives. They are organized on the basis of experiences of women from various classes, castes and provinces, contesting with the interminable psychological violence of partition and post-partitioned reality.

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