American Indians Go Graphic

The graphic novel is in many ways perfectly situated to tell stories of the self and others. The art brings intimacy and immediacy to the narrative, allowing more room to expand, as opposed to film, which is bound by run-time and limitations of cinematography. Biography and autobiography in a graphic novel unfold panel-by-panel, bringing incredible and moving stories to life in personal and powerful ways. The graphic novel format itself not only allows for a longer storytelling arc than comics, but also for nonlinear storytelling, symbolic visual language, and place-based memory tools aligned with many Indigenous and embodied knowledge traditions.  

Boney, Roy, Jr. (Cherokee Nation citizen). ᎦᎸᎶᎯ (Sky). ATCG Media, 2023. Lilly Library, Duke University. 

An eerie tale of love and loss, ᎦᎸᎶᎯ interweaves the personal and the magical to create a metaphorical and “autobiographical” story beautifully rendered through Boney’s watercolor artwork. While the book demonstrates its roots in Cherokee storytelling through the journey of a boy discovering unexpected lineage, Boney (honored as a “Cherokee National Treasure”) also shares that it is deeply personal, honoring his father's memory. The narrative intertwines Cherokee ideologies with familial reflection, offering readers a poignant exploration of identity and legacy. 

Rosenbaum, S.I.  “Pow Wow.” Illus. by Arigon Starr (Kickapoo citizen/Creek descendant). In COVID Chronicles: A Comics Anthology. Graphic Mundi, 2021. Courtesy of Prof. Courtney Lewis. 

This story follows Ziba, a young American Indian woman (Native Nation not specified) navigating how to maintain community traditions and intergenerational care during the COVID-19 pandemic. As Ziba balances safety concerns with cultural responsibilities, the comic highlights how American Indian communities adapt and innovate—even reimagining pow wows—while honoring elders and maintaining spiritual connections. It’s a story of the importance of maintaining community while balancing care responsibilities in a time of crisis. 

Heath Justice, Daniel (Cherokee Nation citizen). “The Boys Who Became the Hummingbirds.” Illus. by Weshoyot Alvitre (Tongva descendant). In Moonshot Volume 2. Inhabit Education Books, 2020. Lilly Library, Duke University. Label written by Nolan Arkansas.  

Bioluminescence is light that comes from life—or, in this case, from love. Drawing from multiple Cherokee hummingbird stories, two boys, who represent hummingbirds in Heath Justice’s comic, bring color and pride to a community shrouded by dullness and self-loathing. And, just as a hummingbird used its speed to bring tobacco back to the Cherokee people long ago, these Two-Spirit (Indigenous queer) boys use their creative personalities to restore vibrancy in the Cherokee community today.   

Staebler, Christian (non-Native) and Sonia Paoloni (non-Native). Redbone. Illus. by Thibault Balahy (non-Native). Idea and Design Works, 2020. Lilly Library, Duke University. 

The most well-known American and Indigenous music group of all time, Redbone reached the Top 5 in 1974 with their hit “Come and Get Your Love,” a song re-popularized by the movie Guardians of the Galaxy. But there was much more to the band’s story than the single hit. The road to fame was layered with trials as well as celebrations, which are beautifully captured in this story written in consultation with their families.  

Dale Deforest (Diné/Navajo citizen) designer. Indigimatch: A Native American Matching Game. Illus. by Vanessa Bowen (Diné/Navajo citizen), ATCG Media, 2024. Courtesy of Lee Francis IV, Ph.D.