Matt Young
Askold Akishin (b. 1965, Moscow, Russia) is a seminal figure in the Russian comic book landscape, renowned for his distinctively eerie art, dark storytelling, and adaptations of literary horror classics. With a career spanning over three decades, Akishin has earned acclaim both in Russia and across Europe, establishing himself as a master of horror, historical, and war-themed graphic storytelling. His ink-heavy, shadow-laden panels, combined with psychological depth and surreal atmosphere, make him a unique voice in post-Soviet graphic literature.
Infobox: Askold Akishin
| Field | Information |
|---|---|
| Full Name | Askold Akishin |
| Date of Birth | 1965 |
| Place of Birth | Moscow, Russia |
| Nationality | Russian |
| Profession | Comic book author, illustrator |
| Primary Genres | Horror, War, Surrealism, Literary Adaptation |
| Notable Works | The Master and Margarita, Cuckoo!, Bad Company |
| First Major Work | 60 Combat (1985) |
| Artistic Style | Black-and-white, high contrast, surreal, psychological |
| Affiliations | KOM Studio, Russian Comics Corporation (RKK) |
| Languages Published | Russian, various European languages |
| International Publications | Comic Art (Italy), Stripburger (Slovenia), Urban Stories (Poland), Galago (Sweden), Aargh! (Czech Republic) |
Early Life and Artistic Origins
Born in Moscow in 1965, Askold Akishin was immersed in art from a young age, inheriting his creative inclination from his father. He studied at an art school before being drafted into the Soviet army, where he completed his first full-length comic story, 60 Bоевыx (60 Combat), in 1985. While serving, he also created posters, instructional diagrams, and wall newspapers, developing a visual discipline that would later define his meticulous inking and storytelling style.
Even in these early years, Akishin demonstrated a unique talent for conveying intense emotion and psychological tension through line work and composition. His army experience also introduced him to themes of discipline, conflict, and existential dread—all of which would later become hallmarks of his graphic novels. These formative years instilled in him a strong sense of visual narrative and a fascination with dark, introspective subject matter.
KOM Studio and International Exposure
At 23, Akishin joined the influential Soviet-era comic studio KOM, marking the beginning of his professional artistic journey. He contributed to the entertainment weekly Vecherbuaua Nisjva and illustrated for Russian editions of Arthur Conan Doyle, H.P. Lovecraft, and Robert Louis Stevenson. His talent was quickly recognized, and his illustrations were featured in various genres—from adventure to horror—paving the way for his future as a multifaceted artist.
His reach soon extended beyond Russia, with his work appearing in prominent European comic magazines such as Comic Art (Italy), Stripburger (Slovenia), Urban Stories (Poland), Aargh! (Czech Republic), Galago (Sweden), and even in a British zombie anthology. This growing international recognition allowed Akishin to network with other global illustrators and graphic novelists, contributing to the development of a cross-cultural horror comics subgenre.
Literary Horror and War Comics
Akishin specializes in horror and war-themed narratives, often adapting the works of Poe, Lovecraft, Bradbury, and other titans of the genre. His fascination with the psychological and metaphysical aspects of horror leads him to explore disturbing realities through intricately drawn panels. One of his most acclaimed projects is the graphic adaptation of Mikhail Bulgakov’s The Master and Margarita, co-created with Zaslavsky between 1992 and 1993. This ambitious work stands as a landmark in Russian comic literature for its ability to translate a complex novel into a compelling visual format.
His visually arresting A Chronicle of Military Actions, based on Erich Maria Remarque’s All Quiet on the Western Front, demonstrates his affinity for historical drama and existential tragedy. Akishin’s adaptation does not shy away from the horrors of war, offering stark, emotionally evocative imagery that lingers with readers long after.
He typically works in black-and-white, leveraging contrast and painterly textures to evoke tension and surrealism. A rare exception is The Cave (1991), one of his few full-color comics. His use of color here is restrained but meaningful, applied to emphasize specific moods and psychological states.
Post-Soviet Challenges and Return to Comics
During the tumultuous 1990s, Akishin faced difficulty sustaining a comics career and shifted his focus toward illustration. Nevertheless, he continued producing occasional comics for the Russian Comics Corporation (RKK). His 2003 comic Bad Company, a tale of suburban conflict, was featured in Big City magazine and gained a cult following. The story, set in the decaying urban sprawl of post-Soviet suburbia, became emblematic of Akishin’s ability to capture disillusionment and cultural decay.
Akishin’s contributions to youth publications like Geolënok and Stupeni Orakula further showcase his adaptability as both an artist and storyteller. His autobiographical graphic novel Moja komiks-biografija (My Comics Biography) offers a 140-page account of his life, covering everything from childhood and military service to his time with KOM and artistic evolution. The memoir blends memoir and meta-commentary, offering insight into the personal and political struggles of Russian comic artists across decades.
“Cuckoo!”: Soviet Psychiatry Meets Surreal Horror
In 2017, Akishin published Ку-ку! (Cuckoo!), a 60-page graphic novel exploring the chilling world of Soviet punitive psychiatry. Set in 1948, it follows a young woman institutionalized for a lobotomy who uncovers sinister experiments conducted by her doctor. As she befriends another patient and a mysterious heart-creature named Trepang, the story descends into a spiral of paranoia, hallucination, and symbolic horror.
Akishin’s use of dense contour lines, cross-hatching, and patchwork inking imbues Cuckoo! with a sense of living darkness, perfectly aligning with its bleak, psychologically charged narrative. Though some pages feel rushed, the stylistic choices underscore the chaotic mental landscapes of the characters.
The character design leans toward realism, but it’s the story’s structure—shifting between reality and delusion—that gives Cuckoo! its potency. The narrative unravels in loops and parables, with plot twists and ambiguities that challenge the reader’s perception. Critics noted the story’s ambiguity and experimental nature, interpreting it as both a horror tale and a political allegory.
Critical Reception and Legacy
Akishin’s work is noted for prioritizing mood, setting, and psychological tension over character complexity. His characters often serve as conduits for exploring historical trauma and surrealist allegory. Cuckoo! in particular has been praised for its metaphorical treatment of Soviet-era lobotomy practices, while also criticized for underdeveloped protagonists. Still, it represents a bold step into mature psychological storytelling within the comics medium.
Despite not achieving mainstream fame, Akishin remains a cult icon and an inspiration for younger Russian comic artists exploring horror, history, and the grotesque. His stylistic legacy lies in bridging underground comics with serious literary and psychological themes. He continues to influence a new generation of illustrators with his willingness to explore the uncomfortable, the uncanny, and the historically repressed.
Selected Works
- 60 Combat (1985)
- The Cave (1991)
- The Master and Margarita (1992–1993, with Zaslavsky)
- A Chronicle of Military Actions (Remarque adaptation)
- Bad Company (2003)
- My Comics Biography (140-page graphic novel)
- Ку-ку! / Cuckoo! (2017)
