The Intermittent ComFor Update for January 2021

By Lukas R. A. Wilde

Whereas Natalie Veith remarked that nothing much had happened or changed during the months before her last ComFor update in early October, unfortunately that statement does certainly no longer hold. The German COVID-19 stats were still exceptionally good around that time, but it has become painfully clear now that we have squandered the relative advantage we had. An early “light lockdown” turned into a stricter one in December and the infection numbers were rising dramatically around New Year’s; they are now only gradually falling after all public life has been shut down. A general (legal) work-from-home order remains a mere recommendation from all our discordant state governments, however. Universities, of course, have long settled for online activities entirely, just like in most other countries around the world. The screens and interfaces of our online platforms and tools feel all too familiar by now, for better or worse. As one of the organizers of October’s (8th–10th) annual Comfor Conference on “Comics & Agency” (together with Vanessa Ossa and Jan-Noël Thon), conducted entirely via Zoom with around 140 registered participants and 45 presenters, I was certainly not only excited about the high quality of papers and discussions despite all circumstances, but also surprised by the lack of technical problems, even in comparison with earlier live events where there’s always a missing Mac adapter, an unreadable USB device, or a PowerPoint presentation that just won’t open right. The same is probably true for classes, at least it has been for mine. There’s again a great amount of teaching on comic books going on in German Universities (as well as in Austria and Switzerland). As usual, ComFor has published a list of comic-related classes on offer during our winter term on its website.

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Posted by on 2021/01/29 in ComFor Updates



The Intermittent ComFor Update, as of October 2020

by Natalie Veith

Generally speaking, not too much has changed since Stephan’s update in July. Obviously. Most of us are still working from home and we feel the walls slowly closing in on us. Many comic-related events that had been planned for the summer were cancelled or rescheduled. Under different circumstances, the teaching period of the winter semester would start right about now, but most German universities have postponed it for another few weeks to accommodate for the delayed beginning of classes during the summer semester and the difficulties related to scheduling exams. During countless hours on Zoom and other video conference tools over the past months, we have all had ample opportunity to satisfy our voyeuristic drives and take a peek at the interior of our colleagues’ and students’ homes; say hello to various pets, parents and friends interrupting the calls; and realise that there are some students whose name we only know but whose face we have never seen because they do not own a webcam (as opposed to remembering their faces, but not having a clue what their names are, as is usually the case). Maybe it is the knowledge that we are all in this together – though spatially apart – or it is because, given enough time, people get used to anything, but in one way or another, we are all settling into this crazy situation and accepting it as the new normal.

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Posted by on 2020/10/10 in ComFor Updates



Comics Forum 2020 Cancelled

Unfortunately, we have decided not to run a Comics Forum conference this year. The cancellation of Comics Forum, an event series that has run for ten instalments without interruption is not something we take lightly. In brief, the reasons we have made this decision are as follows:

  • The original theme proposal and CFP text were produced early in 2020, before a wide range of globally significant events took place. We are not confident that the focus of the event as written is adequate to respond to these events in a meaningful way. The questions were being asked in a very different context to that in which answers would have been given.
  • Recent events in the field of comics-scholarship specifically have compounded this problem and made clear that any attempt to respond to deep-rooted structural problems in the field would need to proceed from a broader base than was incorporated into the CFP as written.
  • Given that some of these recent events have highlighted the ways in which (in particular) more junior academics might be penalised for speaking out about structural inequalities, we have a responsibility to ensure that the spaces we create for discussion do not perpetuate such harms. Our plans for digital presentations do not do enough to ensure this type of safeguarding is possible, and we are not prepared to rush through an alternative approach.
  • Similarly, although the move to a digital context presents many opportunities, it also creates more general areas of risk around safeguarding and moderation. Given the theme of the conference and the possibility of harm coming from these areas, we are not confident that we could adequately protect participants from or prepare participants for adverse consequences arising from the event (we are including the organising team as participants here). To be clear: this is not an indication that we regard any of the proposals we received as particularly problematic, but we are aware that interpretations vary widely in online interactions and this presents some risk.

Comics Forum has always sought to offer an open and productive space to start and continue conversations on important topics, but its greatest impact has been outside the event itself in the relationships that persist. We have no doubt that these relationships will continue to prosper without an event this year.

Over the next year, we will be keeping a close eye on events both within Comics Studies and beyond and considering how we can best engage with the important work of developing the field in future.

The Comics Forum 2020 Organising Committee
Harriet Kennedy, Ian Hague, Maggie Gray, Olivia Hicks


Posted by on 2020/09/14 in Comics Forum 2020, News


Allies and Disability Representation in Contemporary Russian Comics

José Alaniz

University of Washington, Seattle

Note: all translations are the author’s own.


Corrections Class (Klass korrektsii, d. Ivan Tverdovsky, 2015) is a hard-hitting film about disability in Russia. In one scene, a mother, Svetlana Viktorovna (Natalya Pavlenkova), struggles to push her paraplegic teen daughter Lena (Maria Poyezhayeva) in her wheelchair up a two-track cement ramp outside her high school. But the ramp, which we had seen in the process of construction earlier in the movie, has a fatal flaw: a gap of several inches between it and the sidewalk – too wide for a wheelchair to overcome. Worse than useless, the ramp is a spit in the face, a bureaucratic nod to inclusivity with no actual follow-through. It drives Svetlana Viktorovna, who has more than enough troubles in her life, to hiss with rage: “Thank you very much, my dears. Great job.”[1] Equal parts maudlin melodrama, documentary exposé and black farce, the scene is not exactly fiction (though the film is). It had a real-life basis.

In the fall of 2012, a popular series of memes emerged on the Runet (Russian internet): pictures of the many inaccessible spaces for wheelchair-users in Russian cities, turned into absurdist set decoration by ramps built impossibly steep; ramps with trees and other objects blocking the way; broken ramps with wide cracks; and ramps leading to/from nowhere (e.g., into walls). “The inaccessible-ramps meme gained popularity not as [a] representation of the problem of disability inclusion in Russia,” wrote anthropologist Cassandra Hartblay, “but as a joke about the country’s infrastructure, ironic evidence of dysfunction in Russian daily life” (“Good”: 3).[2] Hartblay goes on to call the ramps “an overdetermined symbol, or a red herring for access” in postsocialism (“Good”: 4).

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The Intermittent ComFor Update, as of July 2020

by Stephan Packard


This update was originally planned for May. It would have chronicled a number of spring-time conferences and publications in the German-speaking worlds of comics studies; outlined further plans for this year’s annual ComFor conference; pointed out various courses and lectures on comics in university curricula throughout Germany, Austria and Switzerland; and announced a newly elected Executive Board for the German Society for Comics Studies.

And then, of course, a pandemic happened. The ComFor website turned into a chronicle of cancellations and deferments, listing these casualties on a new landing page (but accompanying this with a laconically titled but encouraging international list of comic projects that respond to the pandemic: Comics und Corona). Compromises abound. Leipzig’s Manga Comic Con and the Comiciade at Aachen were both cancelled altogether, as were too many conferences. The joint Bremen and Bydgoszcz conference on empirical studies into language and images in public communication, once planned for May, has been postponed for the fall; organized by Anna Kapuścińska and John Bateman, it is set to continue the first Sprache und Bild in der öffentlichen Kommunikation conference from April 2019. The NEXTCOMIC Festival in Austria originally had to close down most of its events, moving on to planning for 2021; but it did uphold the basic elements of its exhibition – and by now, several new and deferred events have begun to populate its 2020 programme. Stuttgart’s International Trick Film Festival on animation went virtual, as did the Erlangen Comic Salon, Germany’s largest comic convention and conference. It has moved completely online and has now begun a virtual salon on July 10th. Other special events have gone the same route; perhaps most notably, comic artist Ulli Lust presents a ‘coronavirus-safe’ version of her seminar on drawing comics on YouTube.

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Posted by on 2020/07/24 in ComFor Updates



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