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The article recounts the legacy of José Carioca, the Brazilian ambassador for Disney company's cartoon character Donald Duck in the animated films "Saludos Amigos" and "The Three Caballeros." It highlights the role of Carioca as an engine of international cultural power and the formative development of Donald Duck during the American Phase from 1941-1948, Transition Phase from 1950-1959, Adaptation Phase from 1960-1970, Assimilation Phase from 1971-2001 and Legacy Phase from 2002-2021.

The article discusses the life of prisoners in Australian internment camps during World War I as depicted in the autobiographical comics "Voyage and Adventures of a Good Little German in Kangarooland" (Reise-Abenteur eines Braven Deutschen im Lande der Kangaroo) by a German internee known as C. Friedrich. Also cited are the works of graphic novelists like Art Spiegelman, Joe Sacco, and Marjane Satrapi.

This article examines two online comics about Australia’s policies of detaining asylum seekers, one created by the Australian government’s Customs and Border Protection Service (CBPS), and one published by the experimental journalism site The Global Mail. Through an analysis of the way online readers responded to these comics, this article shows how digital comics use visual style to imply particular kinds of relationships between their authors and their audience, while generating audience engagement through abstracted emotions and narrative gaps. These features have political dimensions, as in the CBPS’s comic, which elides crucial details about the government’s policies while suggesting (but never directly stating) its disregard for the human rights of asylum seekers, while The Global Mail’s comic uses a hand-drawn visual style to generate reader sympathy for the detainees and opposition to the government’s policies. Both comics use visual language to obfuscate key elements about the sources of their messages while also obscuring the voices of the refugees that their images represent. [ABSTRACT FROM AUTHOR]

Academic writing has generally been understood as operating primarily within the linguistic modality, with writing remediating the "voice" of an educator or lecturer. Comics, by contrast, are more explicitly multimodal and derive much of their meaning from visual, spatial and linguistic modalities. Because of their multimodality, educational comics challenge the conception of an authoritative author's "voice," as is typically found in traditional educational and academic writing. To examine how authorship and authority function in multimodal educational texts, this paper examines several books in the popular "For Beginners" and "Introducing" series of "graphic guides," which use images, text, and comics to summarise the work of major philosophers - in this case Derrida and Foucault. The books chosen for this study are all collaborative efforts between writers, illustrators, and designers. In each book, the collaborations function differently, engendering different divisions of authorial labor and forging different constructions of multimodal relationships between image, text, and design. In order to more fully interrogate the ways that these educational comics combine multimodal modes of meaning, this paper itself takes the form of a comic, mimicking at times the books that it is examining. In this way, it serves as a self-reflexive critique of the idea that authorial voice is central to academic writing, and as an example of the challenges and opportunities presented by composing multimodal scholarship which eschews this conception of linguistic authorship. [ABSTRACT FROM AUTHOR]