Juan Sasturain and Alberto Breccia's graphic novel Peraramus: The City and Oblivion, is an absurd and existential odyssey of a political dissident who can't remember his name.
Fantagraphics' new edition of Inferno takes Art Young's original Depression-era critique to the Trump White House -- and then drags it all to Hell.
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.
Jaime Hernandez conveys an exuberance and vitality in his characters that make them easy to relate to and sympathize with. This is no less so in his latest graphic novel, Tonta.
Gina Siciliano's I Know What I Am is a formidable work of comics scholarship, including 50 pages devoted to detailed notes and bibliographic sources about the fearless artist, Artemisia Gentileschi.
In Kate Lacour's graphic novel of imagined medical oddities, Vivisectionary, the viewer is the main character and the images the deranged antagonist.
Graphic fiction BTTM FDRS drags up our culture's biggest, ugliest globs of unconscious sewage and spreads it across a white page for us to see and acknowledge.
Inés Estrada's disturbingly plausible imagination effectively beams Alienation's dystopic future into readers' heads via the antiquated analog technology of ink and paper.