In his adaptation of okai stories, ‘Tono Monogatari’, manga artist and historian Shigeru Mizuki is at once narrator, illustrator, reader, and participant, explaining the stories’ connections to Japanese legend and belief.
Rabagliati's semi-autobiographical graphic fiction, Paul at Home, is brimming with moments of heartbreak, but through its humor and honesty, it also speaks to our sense of hope.
Despite their considerable differences in genre, style, and character temperament, Sophie Yanow and Lisa Hanawalt explore the same inexplicable underworld of longing.
The late manga artist Kuniko Tsurita's works virtually demand repeat readings: initially cryptic, always compelling, inviting the reader to try again, and offering new suggestions and meanings with each read.
R. Sikoryak's satirical pairings of comics characters with famous and infamous American historical figures breathes new and sometimes uncomfortable life into the United States' most living document.
There's something perversely entertaining for a memoir about the career of its successful author to stay so relentlessly focused on failures as Tomine.
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.
Tian Veasna's superb yet harrowing graphic portrayal of the Khmer Rouge regime, Year of the Rabbit, conveys what damage a living nightmare can do to a country and its people in a mere four years.
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.