Overlooked Apocalypses We Hope for the Best
by Philipp Schrögel, Affiliated Researcher at CAPAS
In fiction, the apocalypse has been enjoying greater popularity for some time now: Hollywood blockbusters with meteorites hurtling towards the earth and zombie hordes in the streets of American cities, as well as comics with epic end-time battles and global catastrophe scenarios. But there is more to apocalyptic representations in comics. A joint seminar at Burg Giebichenstein University of Art and Design Halle in the summer of 2024 by comic artist Markus Färber and CAPAS affiliated researcher Philipp Schrögel explored the nuanced, overlooked and maybe marginalized perspectives on apocalypses through and in comics. Which and whose perspectives are barely present? Which aspects of the end of the world are hardly in focus? How can apocalypse be thought of differently?
Over the course of the semester, the seminar combined an artistic as well as a scientific perspective on apocalypses and comics. Examples of apocalyptic graphic novels were analyzed as well as the medium of non-fiction and science comics in terms of their potential for communicating complex content. The goal was to develop comic narratives based on discussions with experts—including former CAPAS fellows Stephen Shapiro, Florian Mussgnug and Teresa Heffernan—and artists delivering guest lectures.
The result is a rich comic book, hand-printed by the students as part of the seminar, that brings together a range of different artistic perspectives on the diverse dimensions and perspectives of apocalypses in combination with different disciplinary scientific facets. The book is nominated for the Burg Giebichenstein design price, the final decision will be announced in November 2024.
Looking into the diverse styles and topics covered in the book, one example is the role of volcanoes on the one hand as destroyers of worlds and existences—such as the eruption of the Indonesian volcano Tambora in April 1815, which turned the following year into a “year without summer”, with storms, crop failures and famine worldwide. On the other hand, as the creator of new worlds, whether literally through the creation of new islands as living worlds or through the fertile volcanic ash as the basis for new life. Or other perspectives on mass extinctions, which have occurred more frequently in the history of the earth.
With a view to a post-apocalyptic “after” of whatever kind, the question arises as to how artefacts and intangible cultural heritage will be interpreted by a post-apocalyptic civilization? What has been preserved and by whom? How is it presented, which perspectives are ignored? These are questions that, due to the long overdue current discourses on colonial appropriation and Western museum practice, no longer lie in a fictional future, but are directly relevant.
Apocalyptic metaphors are often used in social discourse. In relation to the climate crisis, for example, there is intense debate as to whether this is beneficial, as it conveys urgency and creates attention, or whether it is a hindrance, as it can convey overwhelmingness and powerlessness. But apocalyptic framing can also have drastic consequences when it comes to external attribution. During the AIDS crisis in the 1980s, terms such as “AIDS apocalypse” and the “gay plague” (presumably sent as a “judgment”) contributed to the exclusion and stigmatization of those affected. At the same time, there were also symbols of hope and solidarity during this difficult time, in which many lost their personal lives—such as the Blood Sisters blood donation centers organized by the lesbian community.
creates attention, or whether it is a hindrance, as it can convey overwhelmingness and powerlessness. But apocalyptic framing can also have drastic consequences when it comes to external attribution. During the AIDS crisis in the 1980s, terms such as “AIDS apocalypse” and the “gay plague” (presumably sent as a “judgment”) contributed to the exclusion and stigmatization of those affected. At the same time, there were also symbols of hope and solidarity during this difficult time, in which many lost their personal lives—such as the Blood Sisters blood donation centers organized by the lesbian community.
The prints of these and all other stories in the volume will be presented at Silbersalz Science & Media Festival from 20.10. – 03.11.2024 in Halle/Saale and an interactive reading of selected comics together with a scientific commentary will be presented on November 1st.
ABOUT THE AUTHOR
Philipp Schrögel is an associated researcher at CAPAS and a researcher in public participation with science at Technical University of Chemnitz. He also works as a freelancer in practical science communication. His research interests include science communication especially as dialog and participation and creative forms of science communication such as, art and science, science comics, science games or science street art.
