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Artist Khikhus does the best job with his matching of dark illustration, busy frame-movement and almost incoherent philosophizing about the meaning of happiness; it reminds me a bit of Peter Kuper’s more psychedelic work in terms of style.
Sokolov puts in another solid effort of a similar type to his work in .
While the theme of this volume doesn’t work to the advantage of the artists, I was happy to be introduced to many of them and look forward to seeing them elsewhere in an expanded, free forum.
On this score, is much better, combining talented artists and letting them tell whatever stories they’d like.
Now he is destined to perform at the Bolshoi Theatre in Moscow.
The lighting of the interiors is wretched, the recording is frequently inferior, and the film is at least twenty minutes too long for complete comfort. Digging around music stores and artsy cafes got me nowhere and, to this day, I have yet to see a Russian anywhere reading a comic book or graphic novel. But after four months in Moscow, I’ve found that creepy dudes are everywhere, I squeeze into cramped, tiny spaces every time I ride public transportation, and, frankly speaking, I’ve got no immediate prospects for any dates on this continent.But thanks to a link from a commenter over at Sean’s Russia Blog (hat tip to Chrisius Maximus), I located Pangloss (M: Kitai-Gorod, B. So, I hopped on the subway and prepared my best slurry-tenor-man-accent (usually reserved for negotiating cab fares) to meet the comics [Grandpa Frost], which I will review at a later date. Having finished the three collections, I can say that overall the level of artwork and story-telling was lower than what I see coming out in America, Europe, and Japan.The most impressive work is the first entry, “Sterva: The Off-Season,” a urban dystopic, political portrait written by Elena Voronovich and drawn by Andrei “Drew” Tkalenko.(See above.) Fans of America’s Ai T and Vertigo imprints ought to enjoy this work.