ABSTRACT
In this chapter, the author summarises his views on the representation of violence in the graphic narrative form and make further suggestions for how ‘dark’ writing and representing ineffable aspects of experience may be more widely applied across other aesthetic forms. The author affirms that we need to re-orientate our epistemological stance on the representation of violence and trauma in war and conflict to enable us to approach the instigation and sharing of experiences of violence. The author probes the capacity of other visual aesthetic to represent experiences of violence and trauma by accommodating the ineffable. The graphic narratives have the added advantage over animated documentaries that they invite the reader/viewer to participate actively in the structure of the narrative by deciding on the sequence.
