Abstract

Abstract:

I see myself as a cartoonist and not as a critic. However, as I watched the critical conversation around the two most recent issues of Kevin Huizenga's Ganges series, released in the past few years, I was underwhelmed. The product of that dissatisfaction is All There Is. Ganges displays a remarkable facility with and manipulation of the grammar of comics, and I decided I would try to highlight some of the specific structural and narrative decisions that help make the work so compelling.

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Additional Information

ISSN
2473-5205
Print ISSN
2473-5191
Pages
pp. 49-67
Launched on MUSE
2018-04-04
Open Access
No
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