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Something extraordinary is happening in 21st-century India. Many geopolitical experts seem convinced that this vast, complex nation is blossoming into one of the economic giants on the global stage, rivaling China. Recently, the eyes of the world, or at least of those interested in sport, have been focussed on the Commonwealth Games in New Delhi and its complications and bad press. Putting these aside, as well as the success and export of Bollywood movies, Indian cuisine, cricket and contemporary art, another field is newly ascendant here, that mix of industry, entertainment and culture that produces comics and graphic novels.

Several different interesting trends have been emerging in more recent years in Indian comics. First, a more modern-looking mainstream production has developed, heavily inspired by the imported melodramatic, detailed, computer-coloured stylings of superhero and fantasy comics from America. As well as some excitement over a special Indian version of Spider-Man in 2004 from Gotham Entertainment, this sector gained a greater profile in 2006 when Richard Branson of the Virgin Group partnered with filmmaker Shekhar Kapur, renowned author Deepak Chopra, his son Gotham and fellow entrepreneurs Sharad Devarajan and Suresh Seetharaman to found Virgin Comics in New York and Bangalore. From its Indian base, many highly skilled local artists set to work illustrating scripts by others based on big-name concepts, notably from writers like Deepak Chopra, major movie directors like Guy Ritchie and John Woo and celebrities like Eurythmics frontman Dave Stewart. A separate Shakti line (Sanskrit for “power”) set out to reinterpret and often update specifically Indian subjects, such as

The Virgin Comics concept may have been to “create content that not only reaches a global audience but also helps start a creative renaissance in India”, but it quickly became clear that much of the line was geared to preparing low-cost market-testing, audience-building and pre-production design and promotion for commercial, generic movie options, which did not fully materialise. There were exceptions and one progressive project was to have been

One of the essential evolutionary elements, in my view, in fulfilling the maturity of any country’s graphic novel culture must be the ever-growing contributions of women artists. Again and again it has been proven that their voices and views are vital for comics to redress the balance from male-dominated tropes and conventions. In India, 2008 brought the publication of

Indian graphic novels are taking other forms as well, introducing to comics, and indeed to the medium of the multiple book itself, the visual and storytelling vocabularies from traditional Indian folk and tribal arts. At the 2005 Falmouth Open Forum on graphic literature I was lucky to meet Gita Woolf, the inspirational woman publisher behind

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