Regulated Pandemic Spaces: Spatial Crises in COVID Comics.

Close-reading sequential comics and cartoons such as He Zhu's "Lockdown," Rivi Handler-Spitz's "Morning Commute," Yang Ji's "Quarantine," and Thi Bui, Will Evans, Sarah Mirk, Amanda Pike, and Esther Kaplan's "In/Vulnerable," this article investigates the networked spatial crises that have emerged during COVID-19. As the global pandemic reshaped social, economic, and cultural landscapes, it is crucial to understand the spatial implications of these transformations. By analyzing graphic medical texts, which serve as visual narratives that capture the lived experiences and perceptions of individuals within these crises, the present essay offers a nuanced exploration of the intricate relationships between space, society, and the effects of the pandemic. The article identifies and examines the various spatial crises that have emerged in the COVID era, such as disrupted urban environments, altered social dynamics, spaces of contamination, contraction of space, and the reconfiguration of workspaces. Drawing on theorists like Michael Foucault and Henri Lefebvre, this essay illustrates how these crisis-induced spatial transformations are represented, experienced, and contested. Ultimately, the article not only contributes to a deeper understanding of the complex interplay between the pandemic and space but also addresses the challenges of our evolving world.

"Inside Out of Mind": Alternative Realities, Dementia and Graphic Medicine.

Graphic medicine, an interdisciplinary field situated at the crossroads of comics and healthcare, operates as a medium through which the intricate nature of experiences with illness can be articulated, challenging orthodox medical dogmatism in an engaging and accessible way. Combining the affordances of comics and the narrative power of storytelling, graphic medicine elucidates the socio-cultural stigmatization of dementia influenced by a multitude of discourses. Diverging from existing discourses that depict individuals with Alzheimer's disease (AD) as zombies, brain-dead, or empty shells, graphic memoirs reconstruct these reductive notions and represent them as imaginative, productive, and perceptive. Taking these cues, the present paper close reads some sections of Dana Walrath's (2016) Aliceheimer's: Alzheimer's Through the Looking Glass in order to demonstrate how graphic medicine reconceptualizes the preeminent hallucinatory experiences of her AD-afflicted mother, Alice, as visions. Walrath deploys collage art to epitomize Alice's ordeal with AD. In particular, Walrath deploys thought-provoking fragments from Lewis Caroll's Alice in Wonderland, strategically to proximate Alice's experiences with AD and tackle the problem of dementia and sociality. Additionally, the paper explores how the text fosters interdependence, respect, and trust to recognize and restore Alice's personhood. The paper concludes by discussing how Aliceheimer's operates as an alternative paradigm beyond the confines of biomedical and cultural models of dementia through the use of lexical puissance.

'Who Sanitizes the Sanitizer?': COVID Comics and Sanitisers.

Much like face masks, hand sanitisers have become a household item and a prominent symbol since the COVID-19 pandemic. As sanitisers began to be widely used, contingent issues related to toxic ingredients in sanitising products, heightened pandemic-related anxiety, unscrupulous profiteering through inflated sanitiser prices, obsessive sanitisation, contamination fear, stockpiling, panic buying, and concerns regarding the overall effectiveness of hand sanitisers emerged. Building on these themes, the present article investigates the various issues related to sanitisers after a brief review of the history of sanitisers. To do so, the present article analyses sequential comics and single-panelled cartoons from comic artists such as Randall Munroe, Sarah Morrisette, Shivesh Shrivastava and Dan McConnell. This essay extends its inquiry beyond examining sanitisation practices during the COVID-19 pandemic and associated cultural implications. Drawing on insights from Object Oriented Ontology, this article brings to relief how sanitisers have evolved into objects that hold, govern and shape our modern existence. Furthermore, the present article highlights how the comic medium visually enunciates the lived experiences of the pandemic, rituals of sanitising and associated issues.

"I AM NOT A VIRUS": COVID-19, Anti-Asian Hate, and Comics as Counternarratives.

Ever since the global spread of the COVID-19 pandemic in 2020, East Asians across the globe have been ostracized, othered, pathologized, and subjected to numerous anti-Asian hate crimes. Despite contemporary China's rapid modernization, the country is still perceived as an Oriental and primitive site. Taking these cues, the current article aims to investigate the Sinophobic attitudes in the wake of COVID-19 through a detailed analysis of sequential comics and cartoons by artists of East Asian descent, such as Laura Gao and Lisa Wool-Rim Sjöblom. Drawing theoretical insights from Alexandre White's "epidemic orientalism" and Priscilla Wald's "medicalized nativism," this essay investigates how these chosen comics function as counternarratives through first-person storytelling. In so doing, these comics, while reinstating the dignity of East Asians, also challenge and resist the naturalized methods of seeing that justify violence and dehumanization. The article further argues that Sinophobia and anti-Asian hate crimes are motivated as much by the origins of COVID-19 in China as by the political, economic, and technological variables that have shaped modern China.

Care as a creative practice: comics, dementia and graphic medicine.

Care paves efficient ways to sustain life during illness, nonetheless, caring for a chronically ill person is a hard, demanding, tedious and unglamorous work, often fraught with challenges. In contrast, creativity refers to a generative process that brings something new into existence. For instance, creativity implies a moment of discovery, the birth of new ideas, crossing existing boundaries among others. Perfusing creativity with care practices mitigates the difficult experiences, and aid in the healthy management of challenges put forth by the illness. The present article after elaborating on how creativity transforms care as a meaningful and constructive life-changing practice in the context of one of the chronic illnesses, dementia/AD, and briefing on graphic medicine-an interdisciplinary field of healthcare and comics, seeks to close-read Dana Walrath's Aliceheimer's: Alzheimer's Through the Looking Glass to demonstrate how care as creative practice provides a therapeutic direction when biomedical cure becomes impossible. The article investigates how such distinctive caring practices challenges the predominant perspective of dementia as a social death and aid in finding meaning in the alternative experiential realities of the person living with dementia. Further, the article also examines how these practices help in retaining the personhood and humanity of the care-receiver.

Futures of Care: Care Technologies and Graphic Medicine.

Assistive care technologies, developed to replace, support, or extend human capabilities and to address the surging demands of care, have been gaining prominence recently. The current trend summons a posthuman approach through decentering the privileged role of humans in several spaces of caregiving, such as hospitals and eldercare homes. The existence of these cutting-edge assistive technologies, exciting as they are, hints at a possible future when the distinction between humans and technology will be blurred, thus transforming care relations. However, these technological advances carry equal promises and dangers. While care robots may reduce the burden of caregiving, they also threaten to minimize human contact with vulnerable populations. This critical assessment reviews technological advances in care and close-reads several single-panel cartoons to theorize the impact of technologies on caring relations. The article also examines the neoliberal underpinnings of such technologies and the moral dangers of their unreflective use.

Futures of Care: Care Technologies and Graphic Medicine.

Assistive care technologies, developed to replace, support, or extend human capabilities and to address the surging demands of care, have been gaining prominence recently. The current trend summons a posthuman approach through decentering the privileged role of humans in several spaces of caregiving, such as hospitals and eldercare homes. The existence of these cutting-edge assistive technologies, exciting as they are, hints at a possible future when the distinction between humans and technology will be blurred, thus transforming care relations. However, these technological advances carry equal promises and dangers. While care robots may reduce the burden of caregiving, they also threaten to minimize human contact with vulnerable populations. This critical assessment reviews technological advances in care and close-reads several single-panel cartoons to theorize the impact of technologies on caring relations. The article also examines the neoliberal underpinnings of such technologies and the moral dangers of their unreflective use.

COVID-19, Graphic Medicine, and Thinking Beyond Data.

Datafication has allowed us to quantify every facet of the corona-virus pandemic. A significant quantity of data sets on infection and recovery rates, mortality, comorbidities, the intensity of symptoms, region-by-region statistics, vaccination, and virus variants, among other things, has been made publicly available. However, these data sets relentlessly reduce human beings to mere numbers and graph points. The present study employs a close reading of comic panels to demonstrate how graphic medicine uses data to critique, supplement, and expose its lacunae. The article draws from graphic medical narratives and panels such as Andy Warner's "The Nib Bureau of Statistics" (2020), Sarah Firth's "State of Emergency" (2021), and Randall Munroe's "Statistics" (2020). Though data visualizations and comics are both graphical representations, their treatment of COVID-19-related issues is radically different. Graphic medicine "re-draws" data visualizations through imitation, subversion, and displacement to showcase multiple temporalities, marginal agencies, and the affective nature of human existence. Furthermore, the humanistic intervention of graphic medicine deftly reclaims individual lives and attendant stories in a world dominated by technologically mediated data. This essay does not dismiss the performative force of data; instead, it insists on humanizing and contextualizing a sensitive presentation of data to convey our entangled existence and collective states.

Drawing Pain: Graphic Medicine, Pain Metaphors, and Georgia Webber's Dumb.

While there is voluminous literature on pain in the context of medicine, pain as an aesthetic, representational, and epistemological issue remains undertheorized. The present article, after reviewing the nature of pain and surveying the emerging interdisciplinary field of graphic medicine, seeks to close-read sections of Georgia Webber's Dumb (2018) to demonstrate how the artist transforms the inexpressibility and invisibility of pain into a visual and sensate language. Webber's Dumb articulates a complex sense of pain, in which pain is conceived at once as a generative and also as a disabling force. Webber not only transforms pain into a knowable sensation but also teases out the relationship of pain with the creation of comics-artisanal labor-itself. This article also draws attention to the potential of the comics medium in visualizing and expressing pain, and it concludes by showing how pain is at once biological, cultural, and social.

Person-centered care, dementia and graphic medicine.

Dementia is currently promoted as an 'epidemic.' Such a figuration not only impacts the afflicted person but also affects caregiving practices. While the medical model solely delves into the histopathological study of dementia, recent research observes that person-centered care practices provide new ways of paying attention to the dementia-afflicted individuals. Graphic medicine is one such site which intervenes and rewrites the dominant narratives of dementia which treat dementia in terms of loss and care burden. Taking these cues, through a close reading of Valérie Villieu and Raphaël Sarfati's graphic narrative Little Josephine: Memory in Pieces (2020), the present article attempts to investigate cultural alternatives to the demonising figurations of dementia and dementia-related care practices. In so doing, the article not only establishes the increasing role of graphic medicine as a revisionary tool/as a movement but also, through close reading Little Josephine: Memory in Pieces (2020), humanises and reverses dementia care as a 'burden'.

'The time is out of joint': temporality, COVID-19 and graphic medicine.

This article aims to theorise the human experiences of time during the lockdown (in the first phase of the pandemic) and the COVID-19 pandemic through the verbo-visual exposition of graphic medicine that combines the medium of comics and healthcare. The event of the pandemic has not only bifurcated our perception of time in terms of a 'before' and an 'after' but also complicated our awareness and experience of time. Put differently, an epochal transformation caused by pandemics has shifted our temporal experience from the calendar/clock time to a queer time situated outside of formal time-related constructions. The pandemic also implies a dismantling and rearranging of the fundamental structures of time within which human beings interacted with the world. Such a discontinuity in the linear trajectory of chronological time engenders an epistemic and ontological reconfiguration of the very sense of time itself. Through a phenomenological close reading of various sequential comics, single panelled images and graphic medical narratives, this article investigates how visual narratives in the form of comics communicate the passage of time. Categorically speaking, pandemic graphic narratives on time draw attention to stagnation, repetition, acceleration, loss of referentiality and the queerness (strangeness) of pandemic time. The article argues that a shift in the perception of time precipitates an altered spatio-temporal awareness that informs postpandemic discourses and power structures.

Graphic Medicine and the Critique of Contemporary U.S. Healthcare.

Comics has always had a critical engagement with socio-political and cultural issues and hence evolved into a medium with a subversive power to challenge the status quo. Staying true to the criticality of the medium, graphic medicine (where comics intersects with the discourse of healthcare) critiques the exploitative and unethical practices in the field of healthcare, thereby creating a critical consciousness in the reader. In close reading select graphic pathographies such as Gabby Schulz's Sick (2016), Emily Steinberg's Broken Eggs (2014), Ellen Forney's Marbles: Mania, Depression, Michelangelo & Me (2012) and Marisa Marchetto's Cancer Vixen (2009), the present article delineates how graphic medicine interrogates the larger than life forces in the field of healthcare. Drawing specific instances from the aforementioned graphic texts, the essay demonstrates that graphic medicine scrutinizes the political economy of health under capitalism. In so doing, the article illustrates how the pharmaceutical corporations, insurance companies, medical technology, and healthcare corporations marketize and commoditize health in the neoliberal era. Finally, the article attempts to theorize how graphic pathographies, mediating subjective experiences, generate a new critical literacy through the conflation of the personal and the political in the verbovisual medium of comics.

Comics in the Time of a Pan(dem)ic: COVID-19, Graphic Medicine, and Metaphors.

Comics have always responded to pandemics/catastrophes, documenting the way we deal with such crises. Recently, graphic medicine, an interdisciplinary field of comics and medicine, has been curating comics, editorial cartoons, autobiographical cartoons, and social media posts under the heading "COVID-19 Comics" on their websites. These collected comics express what we propose to call covidity, a neologism that captures both individual and collective philosophical, material, and wide-ranging emotional responses to the COVID-19 pandemic. Treating such comics as the source material and drawing insights from theorists Ian Williams, Alan Bleakley, Susan Sontag, and others, this article examines graphic medicine's representation of the COVID-19 pandemic. The conceptual metaphors of war, anthropomorphism, and superheroism are used to represent and illustrate the lived experience of the pandemic, and the article investigates metaphor types, their utility, and motivational triggers for such representations. In doing so, the essay situates graphic medicine as a productive site that presents the pandemic's multifarious impact.

Drawing the mind: Aesthetics of representing mental illness in select graphic memoirs.

Representation of psychological experiences necessitates a creative use of means of expression. In the field of graphic medicine, autobiographical narratives on mental illness find expression through the unique semiotic nature of comics, which facilitates the encapsulation of complex psychic-scapes and embodiment of the artist's experiences. In so doing, these verbal-visual techniques provide vividness and easily digested expression, translating the sufferer's altered mental perspective effectively for the reader. The deployment of such elements inherent in the medium facilitates multilayered connections to the patient narrative, which provide a depth beyond the raw medical discourse. The present essay, with reference to Ellen Forney's Marbles: Mania, Depression, Michelangelo, & Me: A Graphic Memoir and Allie Brosh's Hyperbole and a Half: Unfortunate Situations, Flawed Coping Mechanisms, Mayhem, and other Things That Happened, investigates the mediative value of rhetorical devices unique to the medium of comics in actualizing the subjective experience of mental illness. The essay also seeks to delineate the cultural power of graphic memoirs by positioning them at the crossroads of sufferer's experiences and clinical description, drawing on theoretical insights from George Lakoff and Mark Johnson and other graphic pathographers/theorists, such as Ian Williams and Elisabeth El Refaie.

"It just went wrong, as bodies are prone to do": Graphic Medicine and the Trauma of Miscarriage.

The conspicuous absence of personal articulations of miscarriage in mainstream discourses attests to the stigmatised nature of the experience. Notably, there exists a growing body of infertility comics which foreground the authors' lived realities of miscarriage. In a close reading of select graphic memoirs such as Jenell Johnson's Present/Perfect, Paula Knight's The Facts of Life, Phoebe Potts' Good Eggs, and Diane Noomin's Baby Talk, this article examines how the authors use comics to foreground their predicament. In so doing, the essay argues that these narratives attempt to accord a cultural legitimacy to the hitherto silenced experiential realities of miscarriage.

"Lost Your Superpower"? Graphic Medicine, Voicelessness, and Georgia Webber's Dumb.

Unlike deafness and disability, speech-related disorders-voluntary/involuntary voicelessness, mutism, and their imperatives-have largely remained undertheorized both as scholarship and praxis. Given the primacy and over-privileging of vision, a consideration of the nature of voice/voicelessness is critical and urgent. Framed in metaphysical, metaphorical, and existential terms, Georgia Webber's graphic memoir Dumb (2018), which narrates the protagonist's temporary loss of voice, is perhaps the first graphic medical text that coheres around issues related to voice/voicelessness in its entirety. Taking these cues, the present article, after briefly reviewing the significance of voice in human life and the relationship between voice and identity, provides a close reading of how Webber negotiates her lost acoustical agency in an otherwise abundant soundscape. Intriguingly, Webber also utilizes her voicelessness as a metaphor to reflect on her own marginality in an ableist society. Finally, the essay explores how Dumb projects drawing/comics-making and self-care as recuperative projects that not only help Webber to process her suffering caused by voicelessness but also aid her in reclaiming her lost voice and to acuminate practices of self-preservation.

Feminine famishment: Graphic medicine and anorexia nervosa.

Socio-cultural rigidities regarding the shape and size of a woman's body have not only created an urgency to refashion themselves according to a range of set standards but also generated an infiltrating sense of body dissatisfaction and poor self-esteem leading to eating disorders. Interestingly, through an adept utilisation of the formal strengths of the medium of comics, many graphic medical anorexia narratives offer insightful elucidations on the question of how the female body is not merely a biological construction, but a biocultural construction too. In this context, by drawing theoretical postulates from Susan Bordo, David Morris and other theoreticians of varying importance, and by close reading Lesley Fairfield's Tyranny and Katie Green's Lighter than My Shadow, this article considers anorexia as the bodily manifestation of a cultural malady by analysing how cultural attitudes regarding body can be potential triggers of eating disorders in girls. Furthermore, this article also investigates why comics is the appropriate medium to provide a nuanced representation of the corporeal complications and socio-cultural intricacies of anorexia.

(Un)bridgeable Chasms?: Doctor-Patient Interactions in Select Graphic Medical Narratives.

Effective doctor patient relationships are predicated on doctors' relational engagement and affective/holistic communication with the patients. On the contrary, the contemporary healthcare and patient-clinician communication are at odds with the desirable professional goals, often resulting in dehumanization and demoralization of patients. Besides denigrating the moral agency of a patient such apathetic interactions and unprofessional approach also affect the treatment and well-being of the sufferer. Foregrounding multifaceted doctor-patient relationships, graphic pathographies are a significant cultural resource which recreate the embodied moment of clinical encounters as they also lay bare qualitative tensions between patient' illness experience with doctor's professional understanding of the same. Taking these cues, the present article drawing theoretical postulates of Rita Charon, Deborah Lupton, and Havi Carel close reads Peter Dunlap-Shohl's My Degeneration: A Journey Through Parkinson's (2015), Brian Fies' Mom's Cancer (2006), and Stan Mack's Janet & Me: An Illustrated Story of Love and Loss (2004) to investigate the nature of doctor-patient relationship vis-à-vis communication and the implications of bad doctoring/communicative practices on patient identity and emotions. Furthermore, the article also examines the aesthetic and functional role of comics in bringing into relief the graphically mediated doctor-patient relationship.

Graphic Medicine and the Limits of Biostatistics.

Increasing reliance on statistics for treatment and clinical risk assessment not only leads to the reductive interpretation of disease but also obscures ambiguities, distrust, and profound emotions that are important parts of a patient's lived experience of illness and that should be regarded as clinically and ethically relevant. Enabling critique of the limitations of statistics and illustrating their hegemonic impact on the patient's experience of illness, graphic medicine emerges as a democratic platform where marginalized perspectives on illness experiences are vindicated. Through a close reading of two carer narratives, Mom's Cancer (2006) and Janet & Me: An Illustrated Story of Love and Loss (2004), we illustrate how graphic pathographies represent experiential features of illness that are obscured by overreliance on statistical data.

Infertility Comics and Graphic Medicine.

Cultures around the world are replete with images of women as the epitome of love, kindness, patience, and similar virtues, owing to their ability to give birth. Consequently, those who cannot give birth due to medical conditions are stigmatized and made to feel inadequate and deviant. Although infertility is a gender-neutral health predicament, it is women who encounter severe abjuration. Cultural scripts that glorify childbearing and stigmatize infertility impact the afflicted adversely as they destabilize their identity and aggravate their suffering as a patient. Graphic medical narratives on infertility, such as Paula Knight's The Facts of Life (2017), Emily Steinberg's Broken Eggs (2014), and Phoebe Potts's Good Eggs (2010), reflect on these issues and, in the process, illuminate how infertility fractures women's identity in a pronatalist society. This essay explores three graphic pathographies on infertility through three major themes: pronatalism and the social construction of motherhood, the absolutism of science, and alternatives to motherhood. The essay argues that the use of comics and graphic medicine, by combining visual and conceptual modes, presents the social, personal, and medical features of infertility with new force and urgency.