Nina Bunjevac
Autor von Vaterland: Eine Familiengeschichte zwischen Jugoslawien und Kanada
Werke von Nina Bunjevac
Zugehörige Werke
Getagged
Wissenswertes
- Geburtstag
- 1973
- Geschlecht
- female
- Nationalität
- Canada
- Geburtsort
- Welland, Ontario, Canada
- Wohnorte
- Toronto, Ontario, Canada
Zemun, Yugoslavia - Ausbildung
- OCAD University
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- 6
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- 180
- Beliebtheit
- #119,865
- Bewertung
- 3.8
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- 10
- ISBNs
- 25
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- 7
There's just not an awful lot there. It's a simple story about a compulsive masturbator who grows up to be a voyeur and subsequently a criminal - one of those "the cigarette leads to the joint leads to the pill leads to the needle" narratives. There is no attempt made to plumb the mind of this character; in fact, the character doesn't seem to have a mind at all, just sort of sleepwaking from one panel to the next.
Speaking of panels, each one is a single page, often with a blank facing page. No narrative, thought, or speech ballons. No panel-by-panel action sequences. No WHAM! effects. In many ways, this is not a comic book or a graphic novel: it's a series of illustrations accompanied by a minimal amount of expository text. That's not a plus or a minus, just a description and perhaps an explanation of why this goes by so quickly.
The art is excellent, if a little porn-y. It can be distracting at times: I found myself wondering if the textured shading was due to a skillful use of a textured surface under the paper, or simply a fill plugin in some graphics software. I suppose it shouldn't matter, as it makes the characters look like lizards, but this is more respectable as a failed experimental technique than as an easily-changed software setting. There's always going to be one who says "but this is the point! the lizard skin just reinforces the inhumanity of the characters!", but I am neither convinced nor impressed.
There's an afterword, which probably took longer to read than the graphic novel. It bore no discernible relation to the book, the events described therein were neither shocking nor surprising, nor really interesting for that matter, but I guess these sort of "bad things happened to me in my youth" confessionals are in vogue at the moment, so everyone's gotta have one to provide some purported context to their work. I'm not going to wade into the fray on whether everyone's story needs to be told, or whether every perspective is unique and valuable, or whether victimhood should be celebrated or eradicated. I am simply going to say: Let your work stand on its own merits.… (mehr)