Conclusion

The social genres of comics represent a novel epistemological and meth-odological configuration within the field of social sciences, one that goesbeyond a mere medial shift and instead necessitates a redefinition of theboundaries of scientific knowledge, its form, its publics, and its purposes.The convergence between visual narrative and scientific representation,between panel and theory, between drawing and method, opens anunprecedented space of hybridity and experimentation that challengesboth canonical research paradigms and entrenched hierarchies betweenexpert knowledge and lived experience (Della Puppa & Moretti, 2024;Grüning & Scavarda, 2025). Addressing the impact and innovation ofcomics within social sciences does not simply mean highlighting the medi-um’s potential for dissemination or its role in making complex conceptsmore accessible. Rather, its impact and innovation lie in the comic’s capac-ity to intervene in knowledge production processes, to redefine the coordinates of scientific subjectivity, and to expand the epistemic scope of social inquiry. Comics, thus, are not merely a communication medium, but a cognitive and political device that acts upon both the object and the subject of research (Della Puppa & Moretti, 2024; Moretti, 2023). What renders comics socially and scientifically innovative is their inherently relational, dialogical, and performative nature.