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In his comic Rückwärtsland (2021), Henning Wagenbreth uses the possibilities of literature and art to stop and reverse time. On the one hand, this calls into question existing (pictorial) conventions. On the other hand, the retrograde operations achieve an absurdly humorous effect on a linguistic and pictorial level. This article illustrates on which narrative techniques the illustrator calls in order to discuss philosophical questions about existing causal relation. Furthermore, impulses for didactic follow-up actions are offered. [ABSTRACT FROM AUTHOR]

In order to determine narrative moments in comics, both from an analytical and a didactic perspective, the main focus is usually on its sequentiality. In doing so, it is easy to overlook the fact that the comic page itself is structured by its layout like a coherent picture. In this coherent pictoral unit the panels are designed and composed in a distinct way. This article delivers a poietic perspective on conventionalized ways of page design as well as the compositional knowledge and skills that go along with it. From this point of view further conclusions are drawn with regard to comics as a subject in art classes. [ABSTRACT FROM AUTHOR]

The article uses empirical data to show how a discursive engagement with the literary-aesthetic medium of comics can stimulate learning processes. By approaching the narration as well as the design of the comic through communication and interaction, the students’ personal view of the interdependence of word and image is sensitised. This article discusses how such an interactional approach can be successfully supported by teachers. [ABSTRACT FROM AUTHOR]