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In the American debut of his graphic memoir, Argentine cartoonist Ezequiel García explores the trials and tribulations of transitioning into his thirties as a working artist where the only thing more uncertain than the source of his next paycheck is the future of his hometown — Buenos Aires.
García’s comics are influenced by the film, architecture, and rock music of the past, but that source of inspiration is getting harder to find when big banks are taking over historic theaters, cultural groups are facing hostile eviction, and modern art is at an aesthetic all-time low. While several relationships blossom, García struggles to accomplish his goal of getting published without becoming distracted by the accompanying drama. Like Lucy Knisley’s An Age of License spun with Moon and Ba’s Daytripper, Ezequiel García finds meaning in autobiography and embraces all the promise, panic, and post–punk hallucinations that come with it.
Garcia’s visual storytelling alternates among finely-crafted, architecturally breathtaking depictions of Buenos Aires, revelatory, intimate selfexamination, and phantasmorgical metaphorical flights, drawn in nuanced, expressive, grungy brush strokes.
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