ABSTRACT The article presents various strategies of temporality and documentation created by Ukrainian comic books during the war. The first stage of the war (2014–2021) updated the heroic narrative of military comics – the Kiborhy series and recreated the stories of victims and eyewitnesses (the graphic novel Crossroads: nine stories about war and violence). There was an emphasis on the destigmatisation of the tragic battle experience in war and social comics, reports and autobiographies. The intense mediatisation of the war after the full-scale invasion made it the most documented in history, with a powerful content of digital memories, life stories, testimonies of war crimes, interviews and recollections. The graphic reproduction of everyday wartime life is created in the new conditions of the chronotope – here and now – in an effort not to forget and lose, to leave a memory and a remembrance of life, deeds and death (web-magazine Inker). Comics respond to the events of war, trying to capture a fleeting sense of presence and emotional involvement, to reproduce the ‘voices of war’ in graphic language, to visualise the real stories of the living and to immortalise the deeds of the fallen. This combination of documentation, memorialisation and memory makes the experience of Ukrainian comics during the war unique.
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