What would it mean to construct a post-imperial discipline rather than a ‘post-Western’ one? ‘Post-imperial’ means addressing the ways in which colonial empires divided the world into separate realms of human capability and thought. The binary categories of Western and Eastern, or Western and non-Western, represent one such way of dividing the world according to an imperial imaginary. Rather than merely excluding, these divisions created justifications for local universalisms and power structures. Yet, many anti-Eurocentric scholars now make use of these categories in order to argue for fixed epistemic differences between Western and non-Western populations. Accordingly, I critique the imperial division of the world by drawing on the intellectual trajectories of two thinkers who struggled against empire in the 20th century: WEB Du Bois and Frantz Fanon. Du Bois and Fanon were both aware of how ethnic and cultural foundations for politics could reproduce imperial order, and, therefore, offer potential alternatives to Western/non-Western ontologies. This includes recognising that representations of difference are processual, determined by strategic necessity, and subject to incentives to represent difference within hierarchical institutions. This article builds on recent studies in International Relations and other disciplines to think through the legacies of empire in knowledge production, and to push towards more historical and relational approaches to world political and social inquiry.

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Educational and public information messages can be enlivened through the medium of comics, engaging readers not simply through the content, but through careful application of the attributes of the form. The creative and oftentimes collaborative processes used to create such comics benefit from the blending of different perspectives and expertise in order to ensure that the educational message is precisely calibrated. This article elucidates this argument in light of a suite of educational and public information comics produced by the authors as part of a multidisciplinary team from the Scottish Centre for Comics Studies (SCCS) at the University of Dundee, working with various external partners, and reflects on the methodological and pedagogical approaches embedded in this project. We argue that by using a participatory and iterative process that draws on some of the key elements of Jake Knapp’s concept of the design sprint, a prototype comic can be quickly developed that is informed by relevant scholarship and engages a diverse range of partners as co-designers, which can then be moved quickly to the final version. This process creates a feedback loop between research, practice and the various stakeholders, each of whom is empowered within the co-design methodology to contribute to the comic based on their expertise. This is driven by the operational logic of such projects, which bring together participants from diverse backgrounds and areas of expertise, to collaborate and co-design outputs at the interface between critical and creative investigation. In many cases, the comics that we have produced have been to a tight deadline, where the need for the comic is pressing, so the process partly emerged due to necessity, but became refined over the course of several years, evolving into a practice research approach combined with a sprint co-design methodology that embeds learning outcomes in the process as well as the output. Given the nature of this process, we took to describing this activity as a ‘Comics Jam’, and due to the city’s association with the three J’s of ‘jute’, ‘jam’ and ‘journalism’, the name sort of... stuck.