Delineations of apocalyptic non/alternative futures have been popular in the comic mode, irrespective of the approach to the formalistic manifestation: manga, graphic narratives, visual novels and so on. In the 20th century, wherein humanity has been torn apart by repeated belligerences of modern warfare and violence, doomsday sagas have garnered sustained attention; whether it is MARVEL’s ‘Apocalypse’, or the cyclopean ‘mecha’ robots of anime. The recent pandemic perhaps has augmented the darker side of imagination. However, the objective of the proposed volume is not to further the extant discourse of the cyberpunkish, post-apocalyptic dystopia. Rather, it is to focus on the possible constructive approaches to survival which comic narratives can serve during the aftermath.

Comic and graphic texts have long been recommended for the purpose of publicity and propaganda, owing to their visual appeal. Captain America was conceivably a symbol of perseverance against the Nazi atrocities, which gained sustained favor with the audience. Manga has been used by Japan for both military recruitment in the pre-WW II era, and for the cultivation of pro- peace sentiments during the US Occupation period. Contemporary comic creators have often employed their art as a medium to disseminate social, political, and other community-oriented messages related to ecology, health, sanitation and more. In the early 1990s, Indian graphic artist Orijit Sen published the volume titled River of Stories, intent on representing the challenges faced by a certain indigenous community, as the construction of a dam upended their regular lifestyle. Studio Ghibli has been creating environmentally conscious tales for decades now, when it comes to animated renditions. During the pandemic, Japan has conspicuously resorted to the soft power of manga/anime/allied merchandise for spreading awareness regarding the necessity of masks, sanitizers, and vaccination. Several webtoon artists have preferred the comic form to talk about anxiety, depression, and other mental ailments, which are often considered unspeakable taboos in certain cultures. For instance, artist Dan Piraro in the series titled Bizarro Comics has imagined ‘Waldo’, the popular character from children’s puzzle-game, as someone who is not hiding from others, but his own self! Teachers working for different levels of education have actively included comic content in their curriculum, perhaps to facilitate better communication with their students in online/offline classrooms. 

In the Post- Pandemic era, wherein human race has been coping with the aftershock of their physical and mental health being ravaged, it has perhaps become imperative to reflect on the ideas of sustainable perpetuation. For the volume, critical insights that consider the interdisciplinary interfaces in the praxes of comic studies, graphic medicine, ecocritical theories, pedagogical practices, and any other likely critical overlaps, are invited. While one can engage with older texts, contributors are encouraged to work with more recent ones, which have a pertinence to the context of the pre/during/post-pandemic times.

Possible topics include, but are not limited to:

1. Comic(s) and ecology, indigeneity, and preservation of diversity.
2. Comic(s) and the apocalyptic aftermath: Towards a solarpunkish future.
3. Comic(s) and Therapy: Narratives of suffering and healing.
4. Comic(s), journalism, and infotainment/edutainment.  
5. Comic(s) and the caregivers.
6. Comic(s) and conscious propaganda/publicity.
7. Comic(s) and digital conservation/divide.  
8. Comic(s), classrooms, and alternative pedagogy.

Interested contributors are requested to send the following, no later than 2nd August 2024, to comcatcon2324@gmail.com

1. a working title
2. an abstract of 250-300 words
3. 5-6 keywords
4. a brief bio of not more than 100 words

The abstract deadline is 2nd August 2024. Acceptance notifications shall be sent by 2nd September 2024. Further deadlines and details shall be communicated thereafter. 

For any queries, get in touch at comcatcon2324@gmail.com

About the Editors:

1. Ananya Saha, PhD, Assistant Professor, School of Humanities and Social Sciences, Birla Institute of Technology, Mesra, Ranchi, India. 
2. Debadrita Chakraborty, PhD, Assistant Professor, School of Liberal Arts, University of Petroleum and Energy Studies, Dehradun, India. 
3. Suniti Madaan, PhD, Senior Writing Tutor, Ashoka University, Sonipat, India.