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This article examines the so-called “blow books”, a singular “small-sized” publication format. The article combines two perspectives. On the one hand, it draws attention to an understudied publication format (largely forgotten in favor of the well-known album and magazine formats). On the other hand, it questions a crucial but often discarded aspect of the comics language, namely the notion of offscreen. The study relies on the reading of a specific example: Salaryman (2019) by Dimitri Piot.