Bibliography on Disability and Comic Books, Graphic Novels, and Manga

Alaniz, J. (2004, Fall). Supercrip: Disability and the silver age superhero. International Journal of Comic Art, 6(2).

Alaniz, J. (2011, Spring). Chris Ware and “autistic realism.” International Journal of Comic Art, 13(1).

Alaniz, J. (2012. Spring). A groovy, different kind of lay: Sex, disability and amputee love. International Journal of Comic Art, 14(1).

Alaniz, J. (2012, Spring).  What can we ever have to fear from a blind man?!!’ or Spoiled (secret) identities: Disability, Daredevil and passing. International Journal of Comic Art, 14(1).

Alaniz, J. (2012, September 7).  Will you listen to that!’: (Dis)ability in Moore/Willingham’s “In Blackest Night. “  Comics Forum [Web site].  Retrieved February 18, 2013 from

Bukatman, S. (1994). X-bodies: The torment of the mutant superhero.  In R. Sappington & T. Stallings (Eds.), Uncontrollable bodies: Testimonies of identity and culture (pp. 92-129). Seattle: Bay Press.

Carmack, B. J. (1997).  Realistic representations of companion animals in comic art in the USA. Anthrozoos: A Multidisciplinary Journal of The Interactions of People & Animals, 10(2-3), 108-120.

Hopkins, P. D. (2009).  The lure of the normal:  Who wouldn’t want to be a mutant?  In R. Housel & J. J. Wisnewski (Eds.), X-Men and philosophy:  Astonishing insight and uncanny argument in the mutant x-verse [Blackwell Philosophy and Pop Culture Series] (pp. 5-16).  New York: John Wiley & Sons, Inc.

Fink Berman, M. (2010). Imaging an idiosyncratic belonging: Representing disability in Chris Ware’s “Building Stories.”  In D. M. Ball & M. B. Kuhlman (Eds.), The comics of Chris Ware: Drawing is a way of thinking (pp. 191-205). Jackson, MS: University Press of Mississippi.

Ilea, R. (2009).  The mutant cure of social change: Debating disability.  In R. Housel & J. J. Wisnewski (Eds.), X-Men and philosophy:  Astonishing insight and uncanny argument in the mutant x-verse [Blackwell Philosophy and Pop Culture Series] (pp. 170-183).  New York: John Wiley & Sons, Inc.

Irwin, M., & Moeller, R. (2010).  Seeing different: Portrayals of disability in young adult graphic novels. School Library Media Research Volume 13. Chicago:  American Association of School Librarians. Retrieved from:

Kamp, M.A., Slotty, P., Sarikaya-Seiwert, S.,Steiger, H. J., & Hänggi, D. (2011, June).  Traumatic brain injuries in illustrated literature: Experience from a series of over 700 head injuries in the Asterix comic books.  Acta Neurochirurgica, 153(6), 1351-1355.

Karr, V. L. (2013, July).  ‘Silver Scorpion’ Communal comics and disability identities between the United States and Syria. International Journal of Education Through Art, 9(2), 173-187.

Krueger, R. (2008).  Abstraction, trauma, and the orphan in Brian Michael Bendis and David Mack’s Daredevil: Wake UpImageTexT: Interdisciplinary Comics Studies, 4(2).  Retrieved from:

Kuppers, P. (2006) Blindness and affect: Daredevil’s site/sight. Quarterly Review of Film and Video, 23(2), 89-96.

Lewis, E. (2013). Minorities in Comics Part 1 of 7: 10 Comic Characters with Disabilities. Den of Geek! [Website].  Retrieved January 6, 2013 from

Mantle, M. (2007, October). “Have you tried not being a mutant?” Genetic mutation and the acquisition of extra-ordinary ability.  M/C Journal, 10(5). Retrieved from

Moeller, R., & Irwin, M. (2012). Seeing the same: A follow-up study on the portrayals of disability in graphic novels read by young adults.  School Library Research, Volume 15.  Chicago:  American Association of School Librarians.  Retrieved from:

Squier, S. M. (2008). So long as they grow out of it: Comics, the discourse of developmental normalcy, and disability. Journal of Medical Humanities, 29(2), 71-88.

Surkan, K. (2004, December 31). “I want to be a real boy”: A.I. robots, cyborgs, and mutants as passing figures in science fiction film. In P. Meltzer & S. Price (Eds.), Gender and Technology in Science Fiction Film [Feature issue]. Femspec, 5(1), 114-136.

Worth, J. (2010). Unveiling: Persepolis as embodied performance. Theatre Research International, 32(2), 143-160.