American Indians Go Graphic

Activism comes in many forms, and comics have often been at the forefront of both recording and advancing activist aims. American Indian and global Indigenous creators use the accessibility of this medium to reclaim histories and amplify sovereignty for a wider audience. Comics can delve into key historic moments, such as the 1969–71 occupation of Alcatraz, the 1973 Wounded Knee standoff, and the 2016-2017 Standing Rock protectors’ resistance. They also uplift notions of activism through fantastical representations of survivance, Indigenous futurisms, and continued presence of American Indians, defying the relentless myth of the “disappearing Indian.” These comics show that activism isn’t limited to protests or policy; it can and should be woven into many aspects of our lived and creative experiences. 

LaPensée, Elizabeth (ed.) (non-Native). A Howl: An Indigenous Anthology of Wolves, Werewolves, and Rougarou. Native Realities, 2021. Lilly Library, Duke University. 

More than fifty Native writers and illustrators came together to create this anthology of stories that celebrate all things werewolf. Numerous American Indian and First Nations (Canadian Indigenous) artists lent their talents to bring the work together. A common through line in the stories is how the werewolf represents the ultimate act of defiance and resistance to colonial norming. Additionally, the inclusion of elements of Two-Spirit (Indigenous queer) activism are present in numerous stories. 

Howlie Plush Toy, based on original Illustration by Dale Deforest (Diné/Navajo citizen). Courtesy of Lee Francis IV, Ph.D. 

Exclusive plush included as part of the A Howl Kickstarter Campaign. 

Hill, Gord (Kwakwaka’wakw citizen). 500 Years of Resistance. Arsenal Pulp Press, 2010. Lilly Library, Duke University. 

500 Years of Resistance is a graphic history that powerfully depicts Native American resistance to colonization across the Americas. Through bold, sometimes violently graphic but accurate visuals (like this one), combined with concise storytelling, it chronicles uprisings, survival, and defiance from the arrival of Columbus to contemporary struggles. The comic reclaims historical memory, highlighting Native American resilience and ongoing sovereignty in the face of settler violence and systemic erasure. 

OldBear, Weyodi (Comanche Nation citizen). “Pueblo Jones and the Black Mirrors, Based on Pueblo Jones AKA Jim Naranjo by Dr. Lee Francis IV.” Illus. by Dale Deforest (Diné/Navajo citizen). In Preoccupied: Indigenizing the Museum by Dare Turner (Yurok Tribe citizen) et al, Baltimore Museum of Art, 2024. Courtesy of Lee Francis IV, Ph.D. 

This PreOccupied catalog was the work of the Baltimore Museum of Art as they developed a new exhibit focusing on the work of Native artists. Dr. Lee Francis lent his original creation, Pueblo Jones, to bring an illustrated story to the catalog. Pueblo Jones is an American Indian artifact hunter who journeys around the world enforcing NAGPRA and rescuing artifacts stolen from Native Nation communities, thereby satirizing and inverting artifact-hunting narratives, such as Indiana Jones. 

 Terry, Jim (Ho-Chunk citizen). Come Home, Indio: A Memoir. Street Noise Books, 2020. Courtesy of Prof. Courtney Lewis.  

Come Home, Indio explores author Jim Terry’s journey through addiction, identity, and healing as an American Indian artist. Struggling with how much to reveal, Terry ultimately chose to depict the verbal and emotional abuse he endured with raw honesty. Blending striking black-and-white art, the book moves between his urban upbringing, struggles with belonging, and eventual reconnection with his Ho-Chunk heritage. It’s a powerful story of recovery and self-discovery.