Shintaro Kago’s ‘Dementia 21’ Showcases Surrealist Manga
As much as I admire Shintaro Kago's oddness as a writer, his artistic pen is even sharper (but not without problems) as evident in Dementia 21.
As much as I admire Shintaro Kago's oddness as a writer, his artistic pen is even sharper (but not without problems) as evident in Dementia 21.
In J&K, John Pham explores perspectives in the psychological sense. Like Picasso, he views things from more than one angle.
In his latest work, Cryptoid, Eric Haven takes an idiosyncratically weird approach to the horror genre of the Weird to produce a hybrid graphic novella that belongs to no genre but his own.
Where fiction typically emphasizes plot, Yeon-Sik Hong's Umma's Table emphasizes a rich layering of events that creates the artful impression of memoir-like fiction.
Moa Romanova's "semi-auto-bio" graphic fiction, Goblin Girl, explores the dating world with a mysterious mix of art and influences.
Ben Passmore's Sports Is Hell is an apocalyptic parody of racism in US sports and politics.
Rikke Villadsen's graphic fiction, Cowboy, is an aggressively peculiar take on an already aggressively peculiar genre.
Tsuge's narrator's mustache is no more convincing a disguise than Superman's Clark Kent glasses—which is the paradoxical point in The Man Without Talent.
Where gg's I'm Not Here found its force in ambiguity and the maybe-fantastical, Constantly is comparatively straightforward in its portrayal of the protagonist's sometimes literal battle with her own psyche.
The title of Lisa Wool-Rim Sjöblom's graphic memoir, Palimpsest, is an excellent metaphor for adoption generally and especially the literally erased and rewritten documents that define many Korean adoptions. But it is also a visual metaphor.