Leonie Brialey’s Raw Feels and Alice Chipkin and Jessica Tavassoli’s Eyes Too Dry are both autobiographical comics self-published in Melbourne in 2016 and 2017 respectively. These texts resist conventional modes of life-writing while structuring their explorations of self through affect and the construction of identity through relationships with others and art. While neither text directly engages with national identity, their construction of the embodied self as both porous and bounded, and their insistence on relationality pushes back against an Australian literary and cultural history of autobiography that privileges solitary individualism. Both books dwell heavily on the craft and labour of their authors’ artistic practice: the production of comics is reflexively constructed as a means of healing and connection, while also refusing an instrumentalist framing of comics as merely therapeutic tools. Tavassoli and Chipkin’s contrasting drawing styles—fluid and expressionist, and sketchy and semi-realist, respectively, underscore and undercut their project’s work of connection and its representation of support. The loose, open lines of Brialey’s self-portraiture resist the embodied self as a discrete entity. Her infinity loop motif, and her meditative use of repeated images, suggest both the numbing flatness of depressive time, and the possibility of endurance and transcendence. Feelings are “raw” and “heavy”; the body is a physical limit and burden, but also a site of intimacy, and pleasure.