This paper examines questions of migration, and particularly postmemory borrowed from renowned scholar Marianne Hirsch, in relation to the narrative and visual medium of the Franco-Maghrebi graphic novel. From multiple vantage points—either from the so-called Beur, pied noir, Harki or the migrant in transit—this paper draws from works such as Laurent Maffre’s 'Demain Demain' (2012) concerning North African life in the bidonvilles of Nanterre during the 1960s, Jacques Ferrandez’s multi-volume 'Carnets d’Orient' or Olivia Burton and Mahi Grand-Steinkis’s 'L’Algérie c’est beau comme l’Amérique' (2015) exploration of intergenerational postmemories of pied noir descendants, or Aurel’s 'Clandestino' (2014) detailing the secret but treacherous contemporary Mediterranean migrations of North African exiles, or harragas, fleeing to Europe. Together, these works problematize and reframe the issue of positionality vis-à-vis memory, revealing the fraught and fractured qualities of postmemory. This paper charts the kaleidoscopic, and often contested, visual and spatial terrains of postcoloniality and identity in the medium of the graphic novel. In doing so, this paper addresses several interrelated questions: What role does draftsmanship, illustration, or the “graphic,” serve in narration or in the personal and socio-cultural operations of memory? Formally, how does the relation of text and image complicate our hermeneutics of historical understanding, cultural amnesia, and remembrance? Where, if anywhere, is the place of humor in the face of the trauma of colonialism and persistent struggles of decolonization? What is the position of the graphic novel in a Francophone or Arabic literary canon? Germane to issues of translation, legibility, and reception, by unpacking various scenes and vignettes, this paper will articulate how these works create specific audience networks that bond and share similar postmemories of colonization, migration and decolonization. Moreover, how these particular graphic novels operate in France and across the Maghreb will be subsequently analyzed. Through an examination of artistic and literary conventions, citations, and tropes, this paper investigates how visual narratives and imagined communities are mutually constitutive by way of the graphic novel.