Chester William David Brown is a Canadian cartoonist. Brown has gone through several thematic periods, he gained notice in alternative comics circles in the 1980s for the surreal, scatological Ed the Happy Clown serial. After bringing Ed to an abrupt end, he delved into confessional autobiographical comics in the early 1990s and was associated with fellow Toronto-based cartoonists Seth and Joe Matt, the contemporary autobiographical comics trend. Two graphic novels came from this period: The Playboy and I Never Liked You. Surprise mainstream success in the 2000s came with Louis Riel, a historical-biographical graphic novel about rebel Métis leader Louis Riel. Paying for It drew controversy as a polemic in support of decriminalizing prostitution, a theme he explored further with Mary Wept Over the Feet of Jesus, a book of adaptations of stories from the Bible that Brown believes promote pro-prostitution attitudes among early Christians. Brown draws from a range of influences, including monster and superhero comic books, underground comix, comic strips such as Harold Gray's Little Orphan Annie.
His works employ a sparse drawing style and flat dialogue. Rather than the traditional method of drawing complete pages, Brown draws individual panels without regard for page composition and assembles them into pages after completion. Since the late 1990s Brown has had a penchant for providing detailed annotations for his work and extensively altering and reformatting older works. Brown at first self-published his work as a minicomic called Yummy Fur beginning in 1983; the content tended towards controversial themes: a distributor and a printer dropped it in the late 1980s, it has been held up at the Canada–United States border. Since 1991, Brown has associated himself with Quarterly. Following Louis Riel Brown ceased serializing his work to publish graphic novels directly, he has Paying for It. Chester William David Brown was born on 16 May 1960 at the Royal Victoria Hospital in Montreal, Canada, he grew up in a Montreal suburb with a large English-speaking minority. His grandfather was history professor Chester New, after whom Chester New Hall is named at McMaster University in Hamilton, Ontario.
He has a brother, two years his junior. His mother suffered from schizophrenia, died in 1976 after falling down the stairs while in the Montreal General Hospital. Though he grew up in a predominantly French-speaking province and had his first mainstream success with his biography of French-speaking Métis rebel leader Louis Riel, Brown says he doesn't speak French, he said he had little contact with francophone culture when he was growing up, the French speakers he had contact with spoke with him in English. Brown described himself as a "nerdy teeneager" attracted to comic books from a young age ones about superheroes and monsters, he aimed at a career in superhero comics, after graduating from high school in 1977 headed to New York City, where he had unsuccessful but encouraging interviews with Marvel and DC Comics. He moved to Montreal; the program did not aim at a comics career, he dropped out after a little more than a year. He was rejected again, he discovered the alternative comics scene, developing in the early 1980s, grasped its feeling freedom to produce what he wanted.
At 19 he moved to Toronto, where he got a job in a photography lab and lived frugally in rooming houses. At around twenty, Brown's interests moved away from superhero and monster comic books towards the work of Robert Crumb and other underground cartoonists, Heavy Metal magazine, Will Eisner's graphic novel A Contract with God, he started drawing in an underground-inspired style, submitted his work to publishers Fantagraphics Books and Last Gasp. He became friends with film archivist Reg Hartt, the two unsuccessfully planned to put out a comics anthology called Beans and Wieners as a showcase for local Toronto talent. In 1983 Brown's girlfriend Kris Nakamura introduced him to the small-press publisher John W. Curry, whose example inspired the local small-press community. Nakamura convinced Brown that summer to print his unpublished work as minicomics, which he did under his Tortured Canoe imprint; the sporadically self-published Yummy Fur lasted seven issues as a minicomic. Brown soon found himself at the centre of Toronto's small-press scene.
While he found it difficult at first, Brown managed to get the title into independent bookstores, the emerging comic shops, other countercultural retailers, sold it through the growing North American zine network. Yummy Fur had respectable sales through several repackaging. Brown and a number of other cartoonists featured in a show called Kromalaffing at the Grunwald Art Gallery in early 1984, he had become a part of Toronto's avant-garde community, along with other artists and writers, centred around Queen Street West. In 1986, at the urging of Brown's future friend Seth, Vortex Comics publisher Bill Marks picked up Yummy Fur as a regular bimonthly comic book. Brown quit his day job to work full-time on Yummy Fur. Starting publication in December 1986, the first three issues of Yummy Fur reprinted the contents of the seven issues of the earlier minicomic, Brown quit his job at the copy shop. Brown began to weave together some of the earlier unrelated strips into an ongo
Angoulême International Comics Festival
The Angoulême International Comics Festival is the second largest comics festival in Europe after the Lucca Comics & Games in Italy, the third biggest in the world after Lucca Comics & Games and the Comiket of Japan. It has occurred every year since 1974 in France, in January; the Angoulême International Comics Festival was founded by French writers and editors Francis Groux and Jean Mardikian, comics writer and scholar Claude Moliterni. Moliterni served as co-organizer of the festival through 2005. More than 200,000 visitors come each year to the fair, including between 6,000 and 7,000 professionals and 800 journalists; the attendance is difficult to estimate because the festival takes place all over the town, is divided in many different areas that are not connected to each other directly. The four-day festival is notable for awarding several prestigious prizes in cartooning; the awards at Angoulême were called the Alfred awards, after the pet auk from Zig et Puce by Alain Saint-Ogan. In 1989, the name changed to the Alph-art awards, honoring the final, unfinished Tintin album by Hergé.
In 2003, the Alph-art name was dropped, they are now called "The Official Awards of the International Comics Festival". In 2007, Lewis Trondheim created a mascot for the festival, Le Fauve, since 2008 the prize winners have received wildcat statuettes, with the Best Album statuette coated in gold. Since this year, the award is called the best album, the fauve d'or; the prizes were reorganized too, to create a pool of 40-60 albums, called "official selections," from which are awarded the "Best Album" prize, five "Angoulême Essentials," one "Revelation Essential", one Essential chosen by the public. The Heritage Essential and Youth Essential are selected from separate nominee pools. Additionally, the Grand Prix de la ville d'Angoulême is awarded each year to a living creator honoring his/her lifetime achievement, the Grand Prix winner becomes president of the next year's festival. Traditionally, the president heads the prize jury of the next year's festival, illustrates the festival poster, is given an exhibition of his or her work.
In 2015, the main prizes awarded were: "Golden Wildcat" for best comic Jury's choice – for a publication deserving of note, but which doesn't fit under any of the prize categories Prize for a series – recognising the best series of which an installment has been released during the previous year First comic book prize – awarded to a young author or one publishing their first comic Inheritance prize – for a re-publishing or for the first edition of a work, part of world comic inheritance. Prize for School Comic Prize for Young Talent Prize for Young Talent from the Region "Strip" Prize Prize of the Students of Poitou-Charentes Prize of the Students of Angoulême Prize for Alternative Comics Hippocampus Prize Prize for Best Album/Golden Wildcat Prize Awarded by the Audience Prize for Artwork Prize for First Comic Book Prize for a Series Prize for Inheritance Prix Jeunesse 9-12 ans Prix Jeunesse 7-8 ans Fanzine Prize Hope Prize Best promotional comic René Goscinny award European comics Official website Awards "France takes its comics seriously".
BBC News. 2008-02-16. Retrieved 2010-01-01. 2009 selection
Fallen Words is a collection of rakugo short stories by manga artist Yoshihiro Tatsumi. The manga was published on July 3, 2009 by Basilico, with Drawn and Quarterly publishing it in North American on May 8, 2012. "The Innkeeper's Fortune" A man stays at a poor innkeeper's inn. However, he is a scammer and the innkeeper talks him into buying a lottery ticket with his last quarter. At the drawing for the winners, the townspeople discuss; when the man discovers that he had won the grand prize of 1,000 ryō, he starts shaking and goes back to the inn to lie down. The innkeeper finds out the man had won, having been promised half of the winnings, excitedly wakes him up for some congratulatory sake. However, the man downplays the amount again and chides the innkeeper for wearing his sandals indoors; the innkeeper forcefully discovers that the man is wearing sandals in bed. "New Year Festival" On the Japanese New Year, a father plans to visit a shrine. His wife tells him to take their son as well and he forcefully convinces him.
Along the way, the son annoys the father and mocking him. When the son begs him to buy him something, the father reluctantly gets him candy. Afterward, the son begs louder for his father to buy him a kite. However, the father ends up enjoying the kite instead, ignoring his son. "Escape of the Sparrows" An artist stays at an inn drinking sake for a week straight. When the innkeeper is pressured to ask him for a deposit, he reveals. Instead, he draws five sparrows on a screen as collateral; the innkeeper discovers. News of the screen spreads and the inn becomes prosperous, with one castle master offering 1,000 ryō for it. A samurai visits them, telling them that the sparrows will get tired and fade if they do not have a perch, draws a cage for the birds; the castle master doubles his offer. When the artist returns, he gives the screen to the innkeeper and reveals that the samurai was his father, lamenting that he has turned his father into a cage drawer. "Fiery Spirits" Tachibana is a geta strap wholesaler, faithful to his wife.
However, his friends force him to come to the red-light district with them and he becomes enamored with an oiran named Yugiri. He buys out her contract and purchases a home and a servant for her; when his wife discovers this, she becomes irate with him, saying "hmph", causing him to visit Yugiri more often. His wife puts a curse on her and Yugiri reciprocates, with both retaliating in turn until they both die. However, because of their resentment, both of them come back as fireballs and fight, threatening Tachibana's business; when a priest fails to placate them with sutras, he asks Tachibana to calm them down. However, after he convinces Yugiri to apologize and tries to get his wife to accept the apology, he asks her to light his pipe and she complains: "I'm sure my flame will be terrible! Hmph!" "Making the Rounds" Seikichi makes the rounds at the second floor of a brothel and is accosted individually by four customers who are all waiting for the oiran Kisegawa. The men start making threats to him.
When he finds her with her special client, she makes the client pay for the men's refunds, as well as his own refund, asking for him to leave. "The Rooster Crows" A father asks his servants to trick his son Tokijiro into going to a brothel under the pretense of going to a temple for seclusion. When they get there and he discovers the plot, they convince him to stay by telling him that the guardhouse at the entrance of the district won't let him leave without the group he entered with. Reluctantly he refuses to see any oiran; as he is led to bed drunk however, he has a good time and the servants discover him refusing to leave in the morning, boasting that "you'll never get past that guardhouse!" "The God of Death" A wife scolds her husband for not earning the three ryō needed to name their grandson. As the man thought about his misfortune, he jokes about the god of death, who appears, he offers him a solution to become a doctor, where the god of death will stand at the head or feet of a patient to signify whether they will live.
As the man succeeds at guessing the fate of his patients, he becomes renowned. He spends all of his money at a vacation and when he returns he gets unlucky patients who all die, so he can't accept payment. Desperate, when a rich man's family offers him 3,000 ryō if he can make their daughter better, he tricks the god of death by spinning the body around while he sleeps; the god of death shows him that he had traded his lifespan for the girl's, soon to die, tells him that he might be able to live longer if he can transfer the flame of the candle to a new one. When the man succeeds in transferring the flame, he accidentally sneezes. "Shibihama" Kuma spends all of his earnings on drinking. One day he wants to splurge; when he wakes up, he treats his friends to food and drink. Afterwards, his wife questions him about how he will pay for it, convincing him that he imagined finding the wallet; this causes Kuma to work hard. They start doing well and Kuma becomes a diligent worker. Three years on New Year's Eve, while they celebrate, his wife tells him the truth about the wallet.
When she offers him sa
A penciller is a collaboration artist who works in creation of comic books, graphic novels, similar visual art forms, with focus on primary pencil illustrations, hence the term "penciller". In the American comic book industry, the penciller is the first step in rendering the story in visual form, may require several steps of feedback with the writer; these artists are concerned with layout to showcase steps in the plot. A penciller works in pencil. Beyond this basic description, different artists choose to use a wide variety of different tools. While many artists use traditional wood pencils, others prefer mechanical drafting leads. Pencillers may use any lead hardness they wish, although many artists use a harder lead to make light lines for initial sketches turn to a softer lead for finishing phases of the drawing. Still other artists do their initial layouts using a light-blue colored pencil because that color tends to disappear during photocopying. Most US comic book pages are drawn oversized on large sheets of paper Bristol board.
The customary size of comic book pages in the mainstream American comics industry is 11 by 17 inches. The inker works directly over the penciller's pencil marks, though pages are inked on translucent paper, such as drafting vellum, preserving the original pencils; the artwork is photographically reduced in size during the printing process. With the advent of digital illustration programs such as Photoshop and more artwork is produced digitally, either in part or entirely. Jack KirbyFrom 1949 until his retirement, Jack Kirby worked out of a ten-foot-wide basement studio dubbed "The Dungeon" by his family; when starting with clean piece of Bristol board, he would first draw his panel lines with a T-square. Arthur AdamsArthur Adams begins drawing thumbnail layouts from the script he's given, either at home or in a public place; the thumbnails range in size from 2 inches x 3 inches to half the size of the printed comic book. He or an assistant will enlarge the thumbnails and trace them onto illustration board with a non-photo blue pencil, sometimes using a Prismacolor light-blue pencil, because it is not too waxy, erases easily.
When working on the final illustration board, he does so on a large drawing board when in his basement studio, a lapboard when sitting on his living room couch. After tracing the thumbnails, he will clarify details with another light-blue pencil, finalize the details with a Number 2 pencil, he drew the first three chapters of "Jonni Future" at twice the printed comic size, drew the fifth chapter, "The Garden of the Sklin", at a size larger than standard, in order to render more detail than usual in those stories. For a large poster image with a multitude of characters, he will go over the figure outlines with a marker in order to emphasize them, he will use photographic reference when appropriate, as when he draws things that he is not accustomed to. Because a significant portion of his income is derived from selling his original artwork, he is reluctant to learn how to produce his work digitally. Jim LeeArtist Jim Lee is known to use F lead for his pencil work. J. Scott CampbellArtist J. Scott Campbell does his pencil with a lead holder, Sanford Turquoise H lead, which he uses for its softness and darkness, for its ability to provide a "sketchy" feel, with a minimal amount of powdery lead smearing.
He uses this lead because it strikes a balance between too hard, therefore not dark enough on the page, too soft, therefore prone to smearing and crumbling. Campbell avoids its closest competitor. Campbell has used HB lead and F lead, he maintains sharpness of the lead with a Berol Turquoise sharpener, changing them every four to six months, which he finds is the duration of their grinding ability. Campbell uses a combination of Magic Rub erasers, eraser sticks, since he began to ink his work digitally, a Sakura electric eraser, he sharpens the eraser to a cornered edge in order to render fine detailed work. Travis CharestArtist Travis Charest uses 2H lead to avoid smearing, sometimes HB lead, he illustrated on regular illustration board provided by publishers, though he disliked the non-photo blue lines printed on them. By 2000, he switched to Crescent board for all his work, because it does not warp when wet, produces sharper illustrations, are more suitable for framing because they lack the non-photo blue lines.
Charest prefers not to employ preliminary sketching practices, such as layouts, thumbnails or lightboxing, in part due to impatience, in part because he enjoys the serendipitous nature in which artwork develops when produced with greater spontaneity. He prefers to use reference only when rendering objects that require a degree of real-life accuracy, such as guns, vehicles or characters of licensed properties that must resemble actors with whom they are identified, as when he illustrated the cover to Star Trek: The Next Generation: Embrace the Wolf in 2000. Adam HughesThe penciling process that artist Adam Hughes employs for his cover work is the same he uses when doing sketches for fans at conventions, with the main difference being that he does cover work in his sketchbook, before transferring the drawing to virgin art board with a lightbox, whereas he does convention drawings on 11 x 14 Strathmore bristol, as he prefers penciling on the rougher, vellum surface rather than smooth paper, preferring smoother paper only for brush inking.
He does preliminary undersketches with a lead holder, because he feels regular pencils get worn down to the nub too quickly. As he explained during a sketch demonstration at a comic book
Eric Khoo Kim Hai is a Singaporean director and credited for the revival of the Singapore film industry. Born in 27 March 1965 in Singapore, Eric Khoo was the youngest son of the 15 children of Tan Sri Khoo Teck Puat from his second wife Rose Marie Wee, his mother, a cinephile, introduced him to cinema when he was three years old. He received his education at the United World College of South East Asia. Khoo's interest in film led Khoo to study cinematography at the City Art Institute in Sydney, Australia. Khoo is married to Kim Eun Choo. Khoo's films Mee Pok Man and 12 Storeys have together been screened at over 60 film festivals, held all over the world including Ivy League festivals such as Venice and Rotterdam. In 1998, Khoo was ranked as one of the 25 exceptional trend makers of Asia by Asiaweek magazine and in the following year was included into Asiaweek's leaders for the millennium issue, he was an Executive Producer for the local comedy hit, “Liang Po Po – The Movie”, “One Leg Kicking”, which were both the highest grossing local movies for their respective years in Singapore.
He produced “15” directed by Royston Tan, invited to the Venice Film Festival and Sundance. His TV work includes being Executive Producer of “DRIVE”, an anthology series for the Television Corporation of Singapore, “Seventh Month”, a acclaimed TV horror series for Channel U; these productions served as a platform for grooming young talented filmmakers. Some of his notable achievements include being the first recipient of the National Arts Councils Young Artist Award for Film in 1997 and together with James Toh and Lucilla Teoh they wrote the White Paper which resulted in the formation of the Singapore Film Commission. Khoo was conferred the Singapore Youth Awards in 1999 for his dedication to film-making and contributions to society. In 2004 Khoo directed his third feature Be With Me, selected as the opening film for the Directors’ Fortnight Cannes 2005; the film has since won several awards overseas and has been invited to the Toronto International Film Festival, Telluride Film Festival, Pusan International Film Festival amongst others.
It has received international distribution including the US and Europe with glowing reviews in the French media when it opened in October 2005. Khoo was a judge at the 10th Busan International Film Festival 2005 and Be With Me is the first Singaporean film to be nominated for the European Film Awards 2005. In 2006 Khoo executive produced Royston Tan’s second feature “4:30” and was invited to direct for the Jeonju Digital Film Festival in Korea - “No Day Off” the story of an Indonesian maid, he was awarded the 2006 Singapore Youth Awards Medal Of Commendation and he was the first Singapore director whose films were featured in a retrospective in Korea. The Seoul Independent Film Festival paid this tribute to him. In 2007, Khoo was appointed as a board member of NYU Tisch School of Asia, he produced Royston Tan's “881” a box office hit and received the highest arts honor the Cultural Medallion by the President of Singapore in the same year. In 2008, Khoo was awarded the Chevalier de l'ordre des arts et des letters from the French Minister of Culture and his feature film, My Magic was selected for Cannes official selection main competition.
It is distributed in France by Wild bunch for international sales. My Magic picked up the best film award at Fribourg International Film Festival and was voted best film of 2008 by Le Monde. In 2009, Khoo entered into a partnership with Infinite Frameworks to form a new company, specializing in the production of genre films. Gorylah's maiden effort, went on to win the Best Actress award at the 2009 Puchon International Fantastic Film Festival. Khoo executive produced Sandcastle; the film was selected for 2010 Critic's Week at Cannes. Centre Pompidou in Paris held an Eric Khoo retrospective in 2010 and he was featured in Phaidon Books, Take 100 - The Future of Film, 100 new directors. Eric was President of the Jury for the International Competition at the 63rd edition of the Locarno International Film Festival in 2010. Tatsumi, based on the life and short stories of Yoshihiro Tatsumi, is Khoo's first animation feature which premiered at the 64th Cannes Film Festival in 2011 and world sales is handled by The Match Factory.
Tatsumi won best animated feature at the Sitges Film Festival and the best film and best composer in the Muhr Asia/Africa Awards at the 8th Dubai International Film Festival. It made its North American premiere at The Museum of Modern Art. In the same year his production 23:59, an army paranormal film, was number one at the Singapore box office. In 2012 Khoo was Jury President at Rotterdam International Film Festival, he was the head of the Jury at Puchon International Fantastic Film Festival 2013. Khoo has five critically acclaimed feature films that were at film festivals all over the world: Mee Pok Man, 12 Storeys, Be with Me, My Magic and Tatsumi. Mee Pok Man won prizes in Singapore and Pusan, it was entered into the 19th Moscow International Film Festival. 12 Storeys won him the Federation of International Film Critics Award and the UOB Young Cinema Award at the 10th Singapore International Film Festival, the Golden Maile Award for Best Picture at the 17th Hawaii International Film Festival.
12 Storeys was the first Singapore film to be invited to take part in the Cannes Film Festival. Be With Me opened the Directors' Fortnight at the 2005 Cannes Film Festival, while
Abandon the Old in Tokyo
Abandon the Old in Tokyo is a collection of gekiga short stories by manga artist Yoshihiro Tatsumi. It collects eight stories by Tatsumi from 1970, which were serialized in various manga magazines including Weekly Shōnen Magazine and Garo, was published by Drawn and Quarterly on August 1, 2006; the manga won the 2007 Harvey Award for Best U. S. Edition of Foreign Material, sharing it with the first volume of Tove Jansson's Moomin, it was nominated for the 2007 Eisner Award for Best Archival Collection/Project – Comic Books. "Occupied" An ailing author of children's manga finds out. Feeling sick after eating, he throws up on the wall of a bathroom stall and finds offensive graffiti, he finds himself unable to forget about the graffiti. Inspired after receiving an offer to draw for an adult magazine, he rushes to the bathroom and draws a nude woman. However, as he had entered the woman's bathroom instead, a woman calls for help. "Abandon the Old in Tokyo" Kenichi Nakamura, a garbage hauler, takes care of his bedridden and guilt-inducing mother.
Because his fiancé wants to see his apartment the next time they are together, Kenichi finds a separate apartment for his mother. He takes his fiancé on a trip but abandons her in the train, returning to his mother's apartment only to find that she overdosed using Brovarin. "The Washer" A window cleaner observes a company president's affair with his secretary, the cleaner's daughter Ruriko. When he sees her throwing up in their house, he strips her and forces her to shower while scrubbing her, causing her to move out. While cleaning again, he watches, he is next shown watching a new affair by the president while carrying a baby on his back. "Beloved Monkey" A factory worker, who keeps a pet monkey, is forced off a packed train at the wrong stop. He visits the Ueno Zoo. One day, in a fit of anger, he writes a resignation letter. However, as he is about to hand it in, he loses his arm in a machine, he releases his monkey in the zoo. Because of his arm, he is unable to find employment; as a crowd approaches him at a street crossing, he runs away in fear.
"Unpaid" The president of the failed Yamanuki Inc. still shows up to its abandoned office, where he is hounded by debt collectors. After seeing a flyer, he has sex with one. At a creditors' meeting, he is unable to recognize any of the men and his ¥7 million collateral note blows out of the window. "The Hole" A lost hiker asks for directions from a woman at a hut. However, she leads him to fall into a trap and the woman refuses to let him out, his wife comes searching for him and discovers that the woman suffers deformities from failed cosmetic surgery. When his girlfriend finds him, she wants him to tear up his divorce notification, but leaves when he agrees too readily; the next day it rains and the man drowns. "Forked Road" Ken drinks too much at his friend Yoshio's bar, so he is put to sleep upstairs. He reminisces on his childhood, including a traumatizing experience where he walked in on Yoshio's mother having sex. "Eel" A sewer cleaner's wife has a miscarriage. Discontent, his wife leaves him to return to work as a hostess.
He takes a pair of eels from the sewer and eating one of them, but releases the other back into the sewer. According to Tatsumi, the stories "marked a breakthrough and rekindled passion in gekiga", his approach was to use a "bleak story" gekiga style without the humor in mainstream manga. However, due to his background drawing 4-panel and 1-panel humor manga, his works still used straight humor. Tatsumi wanted to depict postwar Japan, where he felt that the focus on economic growth was given precedence over the lifestyles of its people. Regarding his archetypical character, he used him to " anger about the discrimination and inequality rampant in our society"; the idea for the story "Unpaid" came from a "trashy magazine". The collection consists of stories by Tatsumi published around 1970. Tatsumi wrote "Abandon the Old in Tokyo" and "Beloved Monkey" for Weekly Shōnen Magazine, "The Hole", "Forked Road", "Occupied" for the alternative manga magazine Garo, "Unpaid" for a "cheap adult magazine".
Drawn and Quarterly collected the stories, with Adrian Tomine as designer and editor, published it on August 1, 2006. The stories "Beloved Monkey"—which director Eric Khoo felt was too similar to "Abandon the Old in Tokyo"—and "Occupied" were included as segments in the film adaptation of Tatsumi's A Drifting Life, Tatsumi. Scholars have drawn parallels between the story "Abandon the Old in Tokyo" and the Ubasute folk tale about the elderly being left to die on a mountain. An essay in Mangatopia calls it a projection of "the modern problem of caring for aged parents" onto the Ubasute tale and notes the usage of "aspect-to-aspect transition" effects in the story, such as the one showing a garbage dump, which "emphasizes outrage and regret over the throw-away mentality of modern society". According to the author, these transitions provide visual variety for a story that would otherwise just be talking heads. In Aging and Loss, Jason Danely remarks that the story "presents the dull, drudging work of elder care as hopeless.
Tom Gill of the Hooded Utilitarian finds connections between various stories by Tatsumi: likening "Eel" to the story "Sewer" from The Push Ma