Autobiographical comics (often referred to in the comics field as simply autobio) are autobiography in the form of comic books or comic strips. The form first became popular in the underground comics movement and has since become more widespread. It is currently most popular in American and French comics; all artists listed below are from the US unless otherwise specified.
Also in 1972, Japanesemanga artist Keiji Nakazawa created the story "Ore wa Mita" ("I Saw It"), which told of his first-hand experience of the bombing of Hiroshima. This was followed by a longer, fictionalized work, Hadashi no Gen(Barefoot Gen), which was later adapted into three films.
In 1976Harvey Pekar began his long-running self-published series American Splendor, which collected short stories written by Pekar, usually about his daily life as a file clerk, and illustrated by a variety of artists. The series led to Pekar meeting his wife Joyce Brabner, who later co-wrote their graphic novel Our Cancer Year about his brush with lymphoma.
1980s
Art Spiegelman combined biography and autobiography in his Pulitzer Prize-winning Maus, about his father's Holocaust experiences, his own relationship with his father, and the process of interviewing him for the book.
Eddie Campbell's Alec stories (collected in The King Canute Crowd, Three Piece Suit, and other books) started with the Scottish/Australian artist as a young man drifting through life with his friends, and followed him through marriage, parenthood, and a successful artistic career.
Campbell's English colleague Glenn Dakin created the Abraham Rat stories (collected in Abe: Wrong for All the Right Reasons), which began as fantasy and became more contemplative and autobiographical.
Spain Rodriguez drew a number of stories, collected in My True Story, about being a motorcycle gang member in the 1950s.
Underground legend Robert Crumb focused increasingly on autobiography in his 1980s stories in Weirdo.
Jim Woodring's unusual "autojournal" Jim combined dream art with occasional episodes of realistic autobiography.
David Collier, a Canadian ex-soldier, published autobiographical and historical comics in Weirdo and later in his series Collier's.
1990s
Autobiographical work took the alternative comics scene by storm during this period.
Maltese-American Joe Sacco appeared as a character in his journalistic comics, beginning with Yahoo (collected in Notes from a Defeatist) and Palestine.
Howard Cruse's graphic novel Stuck Rubber Baby told a fictionalized version of Cruse's young adulthood as a gay man in the South during civil rights conflicts.
In the anthology series Real Stuff, Dennis Eichhorn followed Pekar's example of writing true stories for others to illustrate, but unlike Pekar, emphasized unlikely tales of sex and violence.
One of the most popular self-published mini-comics of the 1990s in America, Silly Daddy, depicted Joe Chiappetta's parenthood and divorce, sometimes realistically and sometimes in a parallel fantasy story.
Julie Doucet's series Dirty Plotte, from Canada, began as a mix of outlandish fantasy and dream comics, but moved toward autobiography in what was later collected as My New York Diary.
A trio of Canadian friends, Seth(Palookaville), Chester Brown(Yummy Fur, The Playboy, I Never Liked You), and Joe Matt(Peepshow), gained rapid renown in North America for their different approaches to autobiography. Brown and Matt were also notorious for depicting embarrassing personal moments such as masturbation and nose-picking.
Phoebe Gloeckner created a series of semi-autobiographical stories drawing on her adolescent experiences with sex and drugs in San Francisco, collected in A Child's Life. She later revisited similar material in her 2004 illustrated novel The Diary of a Teenage Girl.
Seven Miles a Second, written by painter David Wojnarowicz and illustrated by James Romberger and Marguerite Van Cook, was based on Wojnarowicz's life and his response to the AIDS epidemic.
The graphic novel David Chelsea in Love described the eponymous author's romantic difficulties in New York City and Portland.
Rick Veitch told the story of his twenties entirely through a dream diary in the Crypto Zoo volume of Rare Bit Fiends.
Ariel Schrag's trilogy Awkward, Definition, and Potential, about discovering her sexual identity in high school, was unusual in having been mostly completed while in high school.
A rare instance of a mainstream comics artist entering this field, Jim Valentino's A Touch of Silver portrayed his unhappy youth in the 1960s.
English artist Raymond Briggs, best known for his children's books, told the story of his parents' marriage in Ethel and Ernest.
1990s in France
This period also saw a rapid expansion of the French small-press comics scene, including a new emphasis on autobiographical work:
Fabrice Neaud's acclaimed Journal was the first lengthy autobiographical series in French comics.
David B.'s graphic novel L'ascension du haut mal (published in English as Epileptic) applied B.'s distinctive non_realistic style to the story of his equally unusual upbringing, in which his family moved to a macrobiotic commune to cure his brother's epilepsy.
Lewis Trondheim portrayed himself and his friends, albeit with animal heads, in Approximative continuum comics, some of which was later published in English as The Nimrod.
Much of Edmond Baudoin's later work is based on his personal and family history.
The comic depicts an ‘almost’ normal childhood, from the fear of monsters under the bed, to scrapping in the school playground, the adventures of camping and the first kiss as a young teenager.
In his next comic Sag Was (2004), the illustrator, cartoonist and comic artist succeeds in establishing his originality.
And although the comic deals with everyday themes such as friendship, love and separation, Flix manages once again to move the reader to tears at the end with his vivid portrayal of his emotions.
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