As literature, comics making and reading are often solitary enjoyments, focused on producing and engaging with a finished product. Many comics makers seek to close this gap and increase social engagement and collaboration in both the production and reading of their work. But what about socialising the comics making skillset as a process? Numerous comic makers do so by applying their visual narrative skillset outside the confines of pages, books and literature. They take it to a wide variety of real-time formal and informal social contexts, engaging in forms of group art therapy, applied comics, ethnography, graphic medicine, live event illustration, sketch notes, visual co-design, graphic facilitation and graphic recording. What can this application of visual narrative skillsets enable as a process, when the focus is on facilitating and supporting the needs of a group, instead of centring on an end product? To explore this question, Sarah interviews Safdar Ahmed about comics making as a way of supporting group connection with detainees in Villawood. This is followed by an interview with Sam Wallman about activist visual co-design for protest engagement and solidarity. And lastly, Sarah reflects on her own experiences as a graphic facilitator and graphic recorder in workshop contexts. This enquiry concludes with the claim that when the visual narrative skillset of comic makers is applied in social contexts as a process, it can beneficially support groups to clarify thinking, create connection, nurture trust, and surface priorities and issues in meaningful ways that go beyond the impact of a finished product. She states that these activities also engage cohorts of people who would not typically read comics, which expands the reach and awareness of the value of comic makers and their skills. Lastly, Sarah presents a quadrant model that maps an expanded view of what constitutes a comic maker’s practice to include the application of visual narrative skillsets as a process in social contexts. This process assists readers, participants and makers in considering the different constraints and opportunities that visual narrative skillsets can have across the product-to-process spectrum, whether created in solitary or social contexts.