The Swedish comic strip Rocky has been translated to Danish and Norwegian and, in this process, its protagonist has changed nationality and hometown; Danish and Norwegian readers experience him as someone from their own cultural sphere. This article uses geographer Doreen Massey’s concept of place as progressive and structural comics theory to understand how this transition is possible. The article analyzes how different places in Rocky are constructed through the use of image and text and specifically, how the lack of place-specific visual elements and the strip’s extensive use of text is central to how it can be transformed to fit a different setting. The drawings support a general sense of place, but are rarely Stockholm-specific. However, from time to time, image and text clash, and what readers might think of as Norway or Denmark suddenly looks very Swedish.