By Nina Mickwitz

Can comics be documentary, and will documentary take the shape of, and therefore be, comics? via a cluster of early twenty-first century comics, Mickwitz argues that those comics proportion a documentary ambition to visually narrate and characterize features and occasions of the true world.

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London: Titan Books. establishing this sequence shows him looking unusually content, as though a slight smile flickers across his face that is turned towards the sunlight.

Computer programs have extended the range of tools available for drawing and image making in a way that arguably parallels the variety of tools available to the writer: “pen, typewriter, laptop” (Hyland, 2001, 7). As in the case of the recorded image, the fragility of the index as trace is spotlighted by digital technologies. This suggests that, in the case of drawing, too, it may be more THE TRUTH-CLAIMS OF IMAGES 35 productive to instead think in terms of a deixic, or pointing, function: the idiosyncratic line pointing toward its producer and the response (as both bodily gesture and ideation) it indicates.

Harvey’s monologue seems to arbitrarily move between insets and speech balloons, and thus undermines a categorical understanding of the former as signaling narration, as in a voiceover, and the latter as representing a voiced utterance. The uncertainty is underlined by the fact that he is depicted alone in a space throughout the chapter, except for in the penultimate panel, in which he is shown listening to the advice of a colleague. There are small indications that his location shifts throughout the sequence; in one panel, he is sat on a sofa, in the next on a chair surrounded by boxes of his comics.

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