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.
In The Man Without Talent, Tadao Tsuge captures the element of fantasy reflected in the childish utopianism of free market capitalism and the committed entrepreneurs who are its happy-go-lucky evangelists.
Sometimes, rarely, a work is so good (so well-conceived, so well-executed) that it simply breaks our traditional expectations of comics literature. And this breaking allows us to glimpse the true, rare promise of what the industry can achieve. Davids Lapham and Aja's Wolverine: Debt of Death is this work.
They lived on opposite sides of the planet, at roughly the same time, and never met. In their lifetimes (one is now dead) each became an acknowledged and influential master in his chosen form of storytelling, and even though their media, social contexts and biographies were worlds apart, the early work of each artist bears striking similarities: they shared a melancholy, darkly humorous, and peculiarly bleak vision of character, story, and life.