Vitaly Terletskiy (b. 1989): Satirical Architect of Russian Comics and Counterculture

Vitaly Mikhailovich Terletskiy aka. Vitaly Terletskiy (Russian: Виталий Михайлович Терлецкий; born January 3, 1989, in Leningrad, USSR) is a prominent Russian comic book writer, artist, editor, satirist, and independent publisher. Over the past decade, he has emerged as one of the most influential figures in Russia’s contemporary comic art scene, known for his sharp satire, rebellious humor, and deeply introspective storytelling. Through his publishing label, Terletski Comics, and a prolific catalog of graphic novels and illustrated experiments, he has helped redefine the boundaries of comic art in post-Soviet culture. Among his most notable works are the dystopian trilogy Sobakistan, the comedic social commentary Roman, the Swallow-Slayer, and the viral visual novel game Altushka for Skuf.

Infobox: Vitaly Terletskiy

Formative Years and Early Career Trajectory

Terletskiy’s journey into the comic arts began under unconventional circumstances. Holding a degree in molecular biotechnology from St. Petersburg State Institute of Technology, he initially worked as an agronomist involved in the research of bioherbicides. Disillusioned with academia and inspired by his childhood fascination with illustrated stories, he transitioned into the creative industry. Starting as a comic seller at the St. Petersburg store “28th,” he immersed himself in the underground comic scene. This experience led to a professional partnership with publisher Mikhail Bogdanov and a role as creative director, and eventually editor-in-chief, of the indie comic house Komilfo.

In his early creative years (2011–2017), Terletskiy began crafting his own comics. His early publications—Skeleton-Instructor, Shafirovsky Prospekt, and Products 24—were parodic, irreverent, and often experimental in form. He quickly gained attention for his offbeat narratives and a distinct, purposefully unrefined drawing style that broke with polished conventions of the medium. During this time, he also contributed to Russia’s mainstream comic publisher Bubble Comics, where he penned works like Inok: King of Parties and Ziggy and Shmyg Destroy the Bubble Universe—comics that blended meta-humor with superhero tropes.

The Birth of Terletski Comics and Independent Publishing

In 2018, Terletskiy departed from Komilfo following its acquisition by the publishing conglomerate Eksmo-AST. Disillusioned with corporate constraints, he launched his own label, Terletski Comics, to provide a platform for underground, alternative, and auteur comic voices in Russia. The label’s first breakthrough came with the satirical anthology Ugly Stories, a series of collaborative short comics that challenged mainstream sensibilities with crude humor, sharp cultural critique, and provocative art styles.

As both a curator and creator, Terletskiy oversaw the development of numerous titles that included genre-blending stories, reinterpretations of Russian folklore, and social satire. His releases often reflected issues such as alienation, state surveillance, gender identity, and nationalism, refracted through an absurdist lens. His comic Products 24, about a kiosk-robot battling Soviet-style monsters, drew acclaim for its critique of post-Soviet consumer culture and urban life.

The Sobakistan Trilogy and International Acclaim

The 2019 release of Sobakistan—an allegorical satire set in a dog-ruled socialist dystopia—catapulted Terletskiy to the forefront of Russia’s independent comic movement. Created in collaboration with illustrator Katya Chinasaki, the trilogy (Sobakistan, Sobakistan: Puppies, and Sobakistan: The Trial) became a cultural touchstone, recognized for its daring narrative, political commentary, and unique visual identity.

The series received praise from critics and readers alike, earning nominations for the prestigious NOSE literary award and the Manga Artists Association of Japan Prize. Sobakistan was praised not only for its fictional narrative—centered around paranoia, state propaganda, and isolation—but for its uncanny relevance to modern political systems. It was translated into Japanese and published by Tokyo-based Two Virgins, with its three volumes released between 2023 and 2024. The Japanese edition was featured in Freestyle magazine’s manga shortlist for 2023.

Web Comics, Multimedia, and Cultural Commentary

Among Terletskiy’s early major successes was Roman, the Swallow-Slayer, a surreal, semi-autobiographical webcomic that transformed into a multi-volume cult hit. It originated as a joke about missing cars and bird tattoos but evolved into a layered commentary on millennial malaise, workplace satire, and absurd conspiracy theories. The comic was later adapted into an animated series with the help of Fedor Comix.

Terletskiy’s creative drive also led to a wide array of projects including JoJo’s Bizarre Adventures parodies, Kafka Codex literary adaptations, and anthologies like Ugly Stories: Manga, Ugly Stories: Cinema, and Ugly Stories: Game Over. These collections gathered a new wave of Russian illustrators and writers into one of the most vibrant and collaborative independent scenes in Russian publishing.

Altushka for Skuf and the Gamification of Comics

In 2024, Terletskiy broke new ground with the release of Altushka for Skuf, a satirical visual novel that parodied Russian internet archetypes—namely the ‘skuf’ (a disheveled, depressed man) and the ‘altushka’ (an edgy alternative girl). Developed with a minimal team and illustrated by artist Rikani, the game offered branching narratives that tackled toxic masculinity, loneliness, and parasocial relationships in post-digital Russia.

Altushka for Skuf rapidly gained traction, topping sales charts on Steam and VK Play. Its viral success led to themed merchandise and an upcoming expansion pack with new characters. Critics lauded the game’s ability to transform internet humor into poignant social critique, blurring the lines between meme culture, art, and satire.

Artistic Philosophy and Stylistic Identity

A defining trait of Terletskiy’s work is his bold and deliberately unsophisticated visual style, which he uses to amplify themes of discomfort, instability, and emotional disarray. Though frequently criticized for lacking technical refinement, Terletskiy openly embraces this aesthetic as a narrative device. His illustrations challenge traditional expectations of beauty and composition, positioning themselves as raw reflections of existential angst and cultural absurdity.

His writing is deeply informed by a synthesis of Russian literature, speculative fiction, historical parody, and the grotesque. Drawing influence from authors like Kafka and Bulgakov, as well as pop culture and internet slang, Terletskiy crafts stories that oscillate between tragicomedy and biting political satire. From robots fighting Khrushchyovkas to post-Soviet bees questioning gender, his work remains idiosyncratic and unafraid to tread uncomfortable ground.

Recognition, Awards, and Cultural Impact

Over the years, Terletskiy has garnered significant recognition. He is a three-time recipient of the ComicsBoom Award, a nominee for the NOSE literary prize, and a finalist for the Manga Artists Association of Japan Prize. His comics consistently appear on year-end best-of lists curated by publications such as Tinkoff Journal, MIR Fantastiki, Kinopoisk, and The Village. Titles like Products 24, Hotel Summer, and Giant Ants of Novosibirsk have further cemented his status as a vital voice in the evolving Russian comics landscape.

Beyond accolades, Terletskiy is a vocal advocate for comics as a legitimate form of literature and social commentary. He has spoken out against political censorship, government underfunding of the arts, and cultural gatekeeping. His commitment to independent publishing and nurturing emerging talent through Terletski Comics has made him a mentor figure to aspiring Russian cartoonists.

Legacy and Future Prospects

Vitaly Terletskiy’s impact on Russian comics is indelible. As a creator, publisher, and provocateur, he has consistently pushed against aesthetic norms, political taboos, and cultural complacency. His work exemplifies how comics can serve not only as entertainment but as a mirror to society’s contradictions and a vehicle for introspection.

As he continues to divide his time between Japan and Russia, Terletskiy’s upcoming projects—both in comics and gaming—promise to further evolve the landscape of Eastern European storytelling. With new installments of Sobakistan, cross-media experiments, and international collaborations on the horizon, his role as a satirical architect of the Russian indie comic renaissance remains as potent as ever.