A few contributions lean too heavily on abstract metaphor without grounding. “Rot Season” has lovely sentences but feels like it’s reaching for a conclusion it never finds. Still, even the weaker pieces fit the issue’s theme: land as memory, land as wound, land as stubborn, living thing.
The standout piece is “The Boundary Tree,” a short comic by M. Yeong that uses a sparse, almost woodcut-like line art to tell a story of two neighbors disputing a property line that may or may not be haunted. Yeong’s pacing is masterful: each panel breathes. Elsewhere, the prose poem “What the Drainage Ditch Remembers” is a surprising gut-punch, turning a mundane landscape feature into a chronicle of forgotten labor and loss. ls land issue 3
LS Land Issue 3 won’t be for everyone. It’s introverted, weird, and occasionally messy. But for readers who believe that small-press comics and lit mags can still surprise—who want art that looks like a backroad rather than a highway—this is essential. 4/5 stars. A few contributions lean too heavily on abstract
LS Land returns with its third issue, and it’s the strongest yet. Building on the raw, unpolished charm of the first two installments, Issue 3 finds the anthology settling into a confident rhythm—blending surreal rural imagery, quiet dread, and moments of genuine tenderness. The standout piece is “The Boundary Tree,” a
The risograph printing (orange over dusty blue) gives everything a faded, twilight feel—appropriate for an issue obsessed with edges and borders. Some pages are intentionally over-inked, which may frustrate readers seeking polish, but for fans of DIY aesthetics, it’s part of the charm.
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