The article examines the distinct counter-narrative strategies employed by Joe Sacco and Tomaž Lavrič in representing the war in Bosnia and Herzegovina and what marks in a determinant way the post-Yugoslav transformation generally. Through analysis of Sacco’s testimonial reportage and Lavrič’s allegorical grotesque realism, it is argued that both artists intervene in the general political economy, the advent of war capitalism, and extreme nationalism. The article contends that through their hybrid form of image and word comics democratise memory by reopening the terrain of mourning to critique and political imagination.
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