Comics can be just as much a medium of historical culture as, for example, monuments, exhibitions or films. This is particularly true of the trend towards graphic novels, which time and again address experiences of marginalisation, persecution and violence. Art Spiegelman’s *Maus* is arguably the most prominent example of this specific form of ‘historical comics’. Just as Joe Sacco has done with his committed, contemporary comic reportages on Palestine or Bosnia, and just as Marjane Satrapi (Persepolis) with her autobiographical account of the Iranian Revolution and living conditions, Art Spiegelman has lifted the comic out of its marginal existence—one that had long been met with derision in mainstream cultural discourse. In the German context, too, the publications mentioned have inspired many artists, comic writers and publishers to engage with contemporary historical themes and questions of memory. What particular potential do such comics hold in terms of content? What trends characterise remembrance in comics? Do comics develop their own dynamics of historical and cultural storytelling? And to what extent do they attempt to reflect on the distinctive features of this medium and the processes of remembrance themselves?

Students at the University of Oldenburg explored these questions in a project seminar held during the winter semester of 2012/13. From a historical perspective, they examine fundamental questions regarding the selectivity of memory and historical consciousness in words and images. They explore the concept of the graphic novel as well as the distinctive features of comic-based reportage. Furthermore, they provide insights into the transnational history of comics.

In reviews, they discuss selected comics and graphic novels. In essays, they focus on specific aspects, such as the use of comics in history lessons or the subjectivity of comic-based storytelling.